In fact, no foreplay is also a kind of foreplay. All emotions and atmosphere reached the peak of concentration in the first second of entry, with excitement and confusion, even dryness. Nothing is right or wrong, it depends on the object. Is it dry wood and raging fire, or lingering.
"Tunnel" chose the right way to enter the topic, because there are not too many character relationships that need to be laid out. In Guo Degang's words, it is to take the audience into the preset scene in the shortest time.
So suddenly, so fast-that's right.
It's a pity that "Tunnel", which started well, slowly loses its rhythm-if it is required by God's standards.
After being buried, Ha Zhengyu called 119 for help. The operator asked politely and gently: "Your name?" I know that the plot of a big Bosnian government and the evil roots of the black people is on the way. Sure enough, the slots appeared one after another. For example, reporters wasted precious mobile phone power in order to grab headlines, government officials' hobby of group photos throughout the film, and waterless fire belts, and so on. For details, please refer to the first page of the film review "Tunnel Watching Manual: Full Analysis of 20 Strength Tucao Points". A lot of self-crimination, aside from the indispensable driving the plot, such as the construction of the number of fans, most of them are slightly blunt, free from the plot, and lack a sense of hierarchy.
In "The Blind Well", the faint saying "If there is a mine, people will die", this is a cruel irony of reality without a trace. The classic ecstasy stop in the ending of "Doctor Strange Love", and even Huang Bo's chic "brand, Baleno" in "Crazy Stone", are all models.
On the other hand, in "Tunnel", most of the irony is reduced to jokes and additions.
More importantly, it disrupted the tense atmosphere of the film. As a result, the most ironic scenes left me the deepest impression after the end of the film. Perhaps these untimely complaints and irony have affected the overall viewing experience, and the originally expected rattling or invigorating feeling did not appear. Perhaps the director's intention is to make the slightly thin one-line plot fuller. I think it would be a better choice if the film length was shortened by half an hour.
It is said that in the original book, the family of the male protagonist cannot die well. I prefer this ending. And I even want to see not starving to death, thirst to death alone, but wishing to be blown to death alive. The director has the director's consideration. I just think that the rescue of the entire Republic of Korea at all costs, set off with two cold bones, is the biggest and best irony.
I like Ito Junji's horror manga very much. One of the reasons is that most of his stories have unsolvable endings. It's not a tragedy, it's no solution. More desperate and fearful than tragedy.
Having said that, "Tunnel" is not bad, He Zhengyu still showed the acting skills and aura that propped up a film. Wu Dal-soo, the perverted villain in "Old Boy", once again proved his ability to complete a positive character. However, "Tunnel" did not reach the level of "Tour to Busan" in terms of narrative rhythm and scene scheduling, let alone "Terror Live" and other masterpieces. All in all, there is more than fierceness, but not enough detail.
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