This film attempts to convey grand ideas but ultimately remains confined within its own limitations. It appears as though an inexperienced director was granted a substantial budget to create a movie without adequately refining the final product.

Director Hao Ning, with the assistance of Andy Lau, places excessive emphasis on personal expression, thereby undermining the overall structural coherence of the film.

In comparison to its peers, the movie poses several pertinent questions regarding the film industry that merit consideration. Observers have pointed out that the primary theme revolves around satirizing our society's obsession with celebrity culture, which in turn fosters a pervasive sense of narcissism among public figures. This observation may indeed hold a significant degree of truth.

This was a bad movie in short, saw it at TIFF and it was painfully slow. It felt like it went on for hours. My friends who also came along also thought it was awful. It had some nice visuals at times but nothing to make the movie worth watching.

It has some scenes which are supposed to be funny, but they weren't funny at all...maybe it's an acquired taste but it was like a throwback to old slapstick comedy wxpcept not done well...the acting was OK but the storyline was really not worthy. It didn't flow and the characters you felt no attachment too whatsoever.

We couldn't wait for it to be over.

In all honesty, Mr. Red Carpet didn't give me a bad first impression. After all, if you compare Mr. Red Carpet to other Chinese New Year films, or even recent films, the audio-visual and even the subject matter of Mr. Red Carpet can be described as superior and eye-opening.

In the many static shots, and long shots with qualified actors scheduling, inevitably see a little art film posture, but the reality is contrary to the wish, when I walked out of the cinema, a lot of viewers around the audience began to complain that "I have never seen such a boring movie," but I still very much like the film's approach to this era! It's quite brilliant in this day and age.

The core of the movie, however, is not worthy of the tone of the movie. The lack of spirituality and inner philosophy puts the movie in a very awkward position, like a spilled paint bucket. It seems like the work of a recent film graduate with a big budget, and still lacks polish. However, there are still some good points in the film, such as the discussion of modern cinema, which fully proves what Pang Zhang, the handbook of proletarian cinema, said, "Cinema can't be separated from the circle", and we can feel that the director, as if he has been hit by the festival many times, spits out his own bitter water.

However, he focuses too much on his own subjective expression and neglects the balance of the overall structure, for example, many of the stream-of-consciousness moments seem a bit redundant with such a dull story, and the showmanship is intentional.

Compared to its contemporaries, the film raises a number of questions about the movie industry that are quite valuable and worth thinking about; the content has potential, but the work lacks polish.