"Di Renjie" is not the martial arts movie that the audience expects. In the final analysis, it is an ancient costume suspense reasoning film with a strong political critique. Even with the help of producer Chen Kuo-fu, the logical clues of this film are still a little bit off. It was once proved that the reasoning of Chinese-language movies can never be rigorous. It has always been difficult for Hark Tsui movies to be thorough in the script level. This is an old problem, not only "Di Renjie" ()
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In "Di Renjie", what I saw was a Hark Tsui that made me more and more unfamiliar. A martial arts film without Jianghu can only be attributed to an action film. There are no problems in the film that must be solved by "fighting". The "fighting" here is just labeling the movie as an action. Whether to fight or not to fight to win has nothing to do with the final outcome. Although Sammo Hung's action design is still very dazzling, but in the end no matchup is impressive. On the other hand, the location CG synthesis of Tangcheng and Tongtian Buddha Tu lacks quality on the big screen. I don't know whether it is a question of time or money. These things that lay the film's most basic blockbuster temperament are not as best as possible. To some extent, "Di Renjie" is more like a Chen Kuo-fu movie that has been transformed by Hark Tsui, and Hark Tsui’s visual and action superficial skills give Chen Kuo-fu the suspenseful reasoning part. Subtraction. Finally, from the plot point of view, the core reasoning part of "Di Renjie" is extremely simple, there is no hierarchy, no echo, and no willows, but the truth is revealed by the way of "seeing" and "telling", and the audience does not have the fun of solving puzzles. This is the biggest failure of the film ()
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