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Chinese/American co-produced action-fantasy "The Great Wall" doesn't feel like a McDonald's-ified version of a Chinese film. True, when square-jawed Matt Damon fights alien monsters side-by-side with Chinese soldiers, the film sometimes feels like a spectacular big-budget action epic with a golden-age western-style hero. But the makers of "The Great Wall" succeed where many westerns fear to tread, namely by un-ironically valorizing the selfless collectivism that has become a cultural touchstone of modern Chinese cinema. "The Great Wall" has significant problems—namely with Damon and sidekick Pedro Pascal's lack of bromantic chemistry—but chief among its rewards is its ability to marry its Eastern and Western sensibilities.

Damon and Pascal play William and Tovar, respectively, wandering European mercenaries who are captured by the Chinese army of the Nameless Order shortly after they slay a mysterious green monster. The monster, they are told, is a "Tei Tao," one of a horde of creatures that attacks the now-famous Great Wall of China once every 60 years. William and Tovar are initially unmoved by the Nameless Order's considerable plight; they want to make their fortunes by stealing gunpowder from their hosts, and selling it to European traders. But eventually, William and Tovar's agendas drift apart after William becomes seduced by the formal control and selfless zeal that defines the Nameless Order. 

And who wouldn't be impressed? The Nameless Order marches around in colorful suits of armor that come in hues of indigo, crimson and cerulean. They launch themselves at their enemies using pulleys, bungee cords, hot-air balloons, boulder-spewing catapults, and many, many arrows. Each crowd shot in this film is remarkable, but not because director Zhang Yimou ("Hero," "House of Flying Daggers") and his assistant directors know how to direct extras. On the contrary, the impassive faces of the Nameless Order's soldiers remind us that all of these people, together, are remarkable. In that sense, the scene where William admits that he killed a Tei Tao "alone," without the aid of Tovar or his slain mercenary colleagues, is a significant reminder of the film's communal ideology: William, as an undisciplined loner, must prove that he's worth just as much as a selfless Chinese soldier. 

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