Hou’s tribute to Ozu is flawed and occasionally dull, but I think it’s a success for the most part. Hou has always had a touch of Ozu in him, and if he doesn’t get the specifics right, at least the tone is similar… although the content is updated a bit for the current times. His approach is less focused, and there are many superfluous bits that will either entrance you or try your patience. But the theme of generational differences in social customs is there (as is a fixation on trains). Pin Bing Lee, one of my favorite cinematographers, employs gorgeous natural light that gives everything a serene quality, although the camera movement is very un-Ozu. Tadanobu Asano appears once again (this guy is everywhere), although he isn’t given much to do. But his performances are usually quite understated anyway.