A marvellous review by Trevor. It's as quiet, gentle and delicate as you could ask for as an antidote to Hollywood explosions and rollercoaster pacing. And yes, it's beautiful; lovely feel for composition. David Bordwell thinks Hou has at least as much in common with Mizoguchi as with Ozu (do read his book Figures Traced in Light), mainly due to his mise-en-scene, and there are certainly differences in camera move and angle to Ozu, but Hou's overall feeling, atmosphere here surely have more in common with him than with Mizo (as you'd expect from a tribute). I love its relaxed restraint; it doesn't force anything onto the viewer, takes its time, preserves a sense of mystery, no histrionics, and some very arresting shots in what may seem to many an unpromising environment (as with Ozu; the 2 directors could be described as urban poets i suppose, but neither would give themselves airs and graces). A delight, certainly among his best- i'm also very keen on The Time to Live, Good Men Good Women, and City of Sadness. Looking forward to Three Times. 

Im Kwon-Taek the Korean director IS clearly strongly influenced by Mizoguchi (Hou apparently not), but i feel is quite a bit clumsier than Hou- Im does have an eye for scenery and colour, but at times his films cry out for a slightly more subtle approach, and then they might be something special. I say that without having seen his early Mandala (1981), which may surpass the later ones. Sorry, i've gone off on a tangent again.