Pack things up at night, and make up for this by piggybacking.
I admire Ding Sheng, but I still can't like it. Whether it's this one, Mr. Wu or Feihu of the Railway, Ding Sheng has his consistent directing style and is responsible for the editing, directing and editing. It can be said that it is a complete author's film. In terms of audio-visual language, the lens has a strong sense of realism. Hand-held, dialect, and editing seem to be trying to create an image world that is close to the real social touch. There is tenacity in the protagonist, which is the belief that Ding Sheng insists on the theme of his works. Even if Jackie Chan is killed by the subway, he has to rescue the kidnapper Liu Ye.
But the other side of tenacity is "roughness", the shortcomings are very clear, Ding Sheng is not good at creating the tension of the dramatic climax. The kidnapper, played by Liu Ye, has been dormant for several years in order to find out the truth about his sister's death. However, the core of the drama did not revolve around the incident of "why did the younger sister die" itself. Several parties involved you and I restored the scene of the news event without any decryption at all. Liu Ye, the perverted villain, did not give the audience much threat. The creation of such threats abounds in Hollywood commercial films. The safety of the hostages, the urgency of time, the hardships of rescue... Although this movie seems to contain them, they are loose. Audio-visual language dissolves nervousness. When the police broke through the wall, I, as an audience, did not feel relieved, but that the rescue was a success.
The lines are concise and neat, the gentleman's kind of refreshing energy, almost without breathing, Liu Ye said that after finishing Long, he answered immediately, this is the editing idea that the director likes, and it is also an important symbol of Ding Sheng's style. In fact, this rush of words makes me feel that the author is not confident in the image, the rhythm is too fast, and the crackling dialogue is used to cover up the lack of attractiveness of the image. It may originate from Ding Sheng's interpretation of commercial genre films, aiming to be free from rigidity and deconstruct tradition. Therefore, in "Flying Tigers on the Railroad", N has a lot of gags, self-joking, light-hearted and humorous, and he laughs along while watching, but when it's time to be nervous, he can't get nervous anymore.
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