Only at the end did I realize that the bloody battle in Mosul was actually produced by Huayi, with a big end of the film Wang Zhonglei Wang Zhonglei. There are not many movies about urban street fighting. Most of them are set in World War II. There are some modern ones in American dramas, and they also show the fourth-class US Marines. After all, several large-scale street fights in contemporary times were mainly fought by Russia, and the main method of the Russian army was to blow everything up with artillery. Therefore, the light infantry street fighting of the Battle of Mosul is especially valuable to be made into a movie. After all, the daughter of the sun who talked about the Kurdish fighting ended up in the field. The 90-minute feature film is a sudden, from the beginning to the end. Not a spoiler, but the final sublimation of who you are fighting for gave a reasonable explanation for all the bloody cruelty before. The technical methods are flawed. The whole film is hand-held, to reflect the recordability and authenticity, and secondly to speed up the rhythm. However, the director's scheduling of handheld camera positions in the literary scene is chaotic. It is still scheduled based on the protagonist's actions like a war scene. It is a bit handheld for long shots, and the editor does not add other characters' reactions. The final effect is dizziness and strange. The combat formation of these Iraqi gangs is also a bit strange. The character background is a former special police officer in Iraq, and all the formation gestures are those of the U.S. military. It may be useful in actual combat, but in the lines these people seem to hate Yankees to death. Including Iran’s Revolutionary Guards, in their eyes they are all foreign invaders, and they are fighting for their homeland. The flaws are not concealed. Regardless of what considerations, Huayi will eventually put its platform on Netflix, for Huayi Overseas and Netflix North America, it is a turnaround in content.
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