The ending really wants people to use it. When you have this kind of thought, you will see Si Niang smiling at you when you look up.
The story can be abstracted into any kind of inexplicable hostility in life. I call it the hostility that can be conveyed-for short, the enemy is the enemy-the enemy is the enemy and the enemy is the enemy-as long as you respond to the other party, a boring one The game begins, and I guarantee that neither of you will enjoy it. I was still hesitating before the truck crashed into the phone, because I had done something similar myself-treating someone else's unconscious behavior as malicious. What if the driver didn't deliberately overtake him? If the green light means that the other party is not hostile, and the red light means you want to kill you, then the first paragraph of the story can be regarded as a yellow light. To understand a yellow light as a red light is definitely to find fault for yourself, so sir, quickly let the other party know that you are not targeting him and stop. Are all strangers interesting? Ask in the bar, who is the truck driver, is it difficult?
Until the moment the truck flew over and hit the phone booth. The yellow light turned into a red light. Suddenly a firetruck was flying away from far and near in my mind—"the enemy reached the enemy reached the enemy reached the enemy reached".
I have 10,000 ways to deal with bad guys, especially those who have failed my kindness. I will take care of my heat sink, call the police quickly, and throw a piece of banana peel behind me while I'm in front. At this point in the film, the audience like me has a strong sense of substitution. It takes more than an hour for the audience to watch the scene of the two cars one behind the other, and they can only rely on the director.
After asking the old man, the truck suddenly turned over, braked its buttocks in front of the red car, paused in a molesting gesture, and drove forward. Before, the protagonist wanted to see who the truck driver was, and the truck driver drove straight ahead. These two scenes are very interesting. The former clearly tells the protagonist: If you destroy your car, you have no fun. , You can play with me for a while. The latter seems deliberate. Since this is just a game, there is no need to deliberately push people down the cliff with the car. Isn't the journey over yet?
There are many ways to tell a good story, one of which is "delay." Where is the orgasm? You don't know. The truth has been delayed again and again, eventually buried under the cliff. At the moment when the car smoked, I thought the director would set the protagonist not to worry about going down to check, the big bad guy was not dead, and the two fought close to each other, in the magnificent sunset. In the end the bad guys can go missing. Or the bad guy chased the protagonist with a smile, the protagonist yelled and fled, and ran into the sunset. But this absurdity is too straightforward. The director chose a faint ending, a man who survived the disaster, throwing stones in the sunset. This kind of action to dispel meaning, such as eating watermelon, cutting a pear, and scraping eyelashes with a ring, has the effect of a verb in a verse. Outline a GIF scene, lifelike, with a lot of space expanded.
I really want to copy Spielberg's brain. I don’t have those ideas.
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