Hou brilliantly evokes the isolation of a generation hopelessly cut off from its past.

As amazing as [Hou Hsiao-hsien's] stately, subtle, beautiful Flowers of Shanghai.

Although the individual cinematic approaches are rather good when seen in standalone fashion, the same does not apply to the film as a whole, which occasionally looks like two different directors shot it

What's most impressive about Goodbye South Goodbye is the way in which the film seems so completely disenchanted with the antics of its protagonists.