This year is a strong year, there are strong and weak ones. Jiang Wen's problem is that he has given too much strength and too much strength! It’s true that bullet orgasms come and go, but with so many orgasms, do you still feel like you have an orgasm? For chickens, that business is just for a living. It is done more than a dozen times a day, and most people really can't bear it.
As a commodity, Hollywood movies have their artistic and scientific nature. The word was just thought of by A Fu. Every climax point of Hollywood movies is arranged for you according to the dramatic conflict. There is no excess or waste. Every small climax is a foreshadowing and a foreplay, ready for the final climax. The money customers are served comfortably.
In other words, the bullets are a bit of a waste, and so many climax points have not reached Pareto optimality. When a climax passes, it always gives the audience a breathing time, but Jiang Wen is in a hurry to show his talent and will not give you this time, the next one. The climax came right away. A Fu gave an idea, this can be made into two parts, and the money will be more. Of course, Jiang Wen won't do this. Talented people often like to waste.
Speaking of acting, the actors are also very powerful under Jiang Wen's training, but the problem is also that they are too powerful. Jiang Wen was born in drama. He understands the charm of drama very well, but when he transplanted it into the movie, it made Ah Fu feel like a drama. Maybe he has watched a lot of drama recently, and the actors performed exaggeratedly. Of course, it is also a style. Jiang Wen's style .
In terms of special effects, you can see the gap between Chinese movies and Hollywood movies. Anyway, when the train fell into the water at the beginning, it felt very fake. The green water looked like magic water boiled by a witch in a pot. Of course, these are all objective existences caused by backward technology, and filmmakers are powerless.
As I said before, it seems like a drama is being staged one by one, and the film has too many great scenes, which makes it feel abrupt. Ah Fu talks about a few scenes that are still emerging in his mind: 1. The horse-drawn train at the beginning is too imaginative. 2. When Jiang Wen and his gang entered the city, Chow Yun-fat watched all beings with binoculars on the watchtower. In retrospect, Xia Yu looked at tranquility with binoculars in "Sunny Days". 3. The mourning in front of Liuzi's tombstone and the two paragraphs of the five bandits defending Jiang Wen are very Quentin's style. 4. In the scene where the Big Three and the two squires entered the bandit suppression mobilization conference, the music was absolutely amazing! 5. In the scene of the Big Three Hongmen Banquet, the performance is very lively, but in comparison, Ah Fu prefers the long scene in "The Devil is Coming" where everyone talks about countermeasures, and it is full of tension.
There are too many aftertastes, and the most important thing is the three-day battle of returning to Goose City at the end. This paragraph could have been made into a fable by itself, and it is very brilliant, but it is just the end of a commercial film. Also inconsistent with the previous.
In addition, there are some scenes that I think can be deleted, such as the sudden appearance of a wife and an eight-year-old son in Master Tang's house. Some plots are also worthy of scrutiny. For example, the group coach played by Jiang Wu suddenly disappeared. In the final battle, he did not stay in the watchtower as the coach, but stayed with the foolish people. Of course, the great thing about awesome movies is that my rhythm is so fast that you don't have time to pick mistakes. Any movie can't avoid bugs, and a movie that allows the audience to enjoy the unexpected error correction is a qualified movie.
In the same way, this film review is nothing more than A Fu's nit-picking after repeated recollection. After the release of the album, A Fu will of course have to watch it several times. There are too many climaxes, and he needs to stop and YY.
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