Eddie Peng and Shu Qi in The Last Women Standing.

Shu Qi, Eddie Peng Yu-Yan, Lynn Xiong, Hao Lei, Pang Hong, King Shih-Chieh, Xing Jiadong, Zhang Xilin, Zhang Wen, Du Jiayi, Wang Sisi, Jing Hao

Romantic comedy-drama about a “leftover woman” that’s not very romantic but features decent character work and a fine central performance from Shu Qi. Not totally commercial and not really artistic, which kind of leaves it in limbo. Amidst its flaws, The Last Women Standing still has its moments.

The clichés do happen – because something has to in a movie – but the suspense and buildup are lacking. Luo Luo's script serves up numerous disconnected events that push Ruxi and Ma Sai together, like a business trip with a shared room, or a personal crisis that requires Ma Sai to keep Ruxi company. There's also a subplot involving Ruxi's friend Zhang Yu (Lynn Xiong), who's dealing with an ex-boyfriend. However, despite clearly relating to the film's title, Zhang Yu’s story feels tacked on because it's simply dropped into the film rather than seeded early on. Many moments in the film suffer from this disconnected storytelling; the overall narrative lacks a consistent flow and some important plotlines aren't even resolved by the time the credits roll. In lieu of a strong story, the film offers Ruxi's slow growth explicated by numerous speeches and monologues. As romances go, Last Women Standing isn't particularly exciting or even romantic.

Shu Qi is the real draw here, as she exudes authenticity even when the material sometimes doesn’t. Ruxi is a no-nonsense businesswoman who carries herself too pridefully in her personal relationships, and Shu ably conveys how her behavior conflicts with her emotions. Shu Qi's performance also helps make up for Eddie Peng's inscrutable character. Ma Sai's lack of development is a big reason that Last Women Standing feels unsatisfying – he never becomes a full-fledged character and pretty much functions as a superficial entity with which Ruxi comes to understand herself. That said, Peng is easy to like, and it's refreshing that the film is told almost entirely from Ruxi's perspective. Last Women Standing strives to give a full portrait of Ruxi's situation, and there's worthwhile material to be found in the effort. Again, it really helps that Shu Qi is the lead, as a lesser actress might not have the chops to carry such a languidly-told film.

Production values are good but not too good; the locations and cinematography make Shanghai into an attractive, modern but not too idealized place. Some of the supporting actors shine; Hao Lei (as Ruxi's boss) and King Shi-Chieh (as Ruxi's father) add weight and credibility to their limited roles. Both are given long speeches to round out their parts, yet manage to lift their scenes beyond narrative cliché. Otherwise, the film seldom capitalizes on its opportunities to be more traditionally crowd-pleasing, e.g., it doesn't make Ruxi and Ma Sai's romance overtly attractive or fun, and refuses to manufacture a conflict that creates a "ticking clock" – at least, not one besides Ruxi's biological one. Overall, the film seems aimed at those who empathize with Ruxi's issues, though Shu Qi's performance may make it worthwhile to even those who don't. The Last Women Standing exists in that difficult space between too thoughtful and too commercial, making it hard for all audiences to fully enjoy. That doesn’t mean it cannot be appreciated. (Kozo, 10/2016)