For many years, we have been wary of Disney’s expansion and market success, worrying that classic IPs will one day be destroyed by Disney’s persistent PG-13 pan-entertainment policy-and with the release of "Star Wars 8", We don't have to worry anymore.
Because Mickey Mouse's devastating blow to classic IP has arrived.
What is "Star Wars"? What differentiates "Star Wars" from other space operas? What is the greatest charm of "Star Wars"? There are many answers to these questions, but almost none of them will appear in Star Wars 8. Compared with "Star Wars 7", it is easier for us to find out exactly what went wrong in "Star Wars 8".
Although JJ Abrams’s "Star Wars 7" faces a lot of self-repetition, it largely guarantees the authenticity of the "Star Wars Spirit". As the foundation work of the new trilogy, J.J. Abrams dug a lot of deep holes in the familiar narrative framework to wait for future generations to dig, and his geek spirit, eloquent director style , Has also become an important guarantee of film quality.
However, Ryan Johnson wrote and directed "Star Wars 8" by himself, not only spurned the monument of George Lucas, but also brutally cut off the foreshadowing of J.J. Abrams. , Buried in a deep pit, alive turned the history of family and revolutionary struggles like "Star Wars" into simple jokes of intemperance, endless chasing, sword fighting and light gun piupiupiu.
In other words, Disney took the Marvel movie's "successful learning" template and buckled it on the body of "Star Wars."
The so-called "success studies" has never been true "success studies"; commercial success has never been equated with success at the level of art and social values. Under Ryan Johnson’s "Disney Gear" arrangement, the only minor contribution made by "Star Wars 8" to the entire "Star Wars" series is probably to make this series extremely strange and unfamiliar for the first time in history. Emptiness-and at any other level, it is a big drive for self-righteousness and self-deception: loose logic, perfunctory characters, and weak plot-dwindling away from "Star Wars", and following the universal Disney-style money-burning blockbuster. Such "Star Wars 8", only special effects and photography are worthy of praise.
The audience-friendly "Star Wars 8" will obviously still be sought after by the market, but such a "Star Wars 8" with a thin sense of existence and self-destructive prospects, it is better to come back to the furnace to remake it.
Similar to the lack of power displayed by "Loop Messenger", Ryan Johnson's "Star Wars 8" is still powerless to its own shortcomings. And relying on the power of the Disney label, "Star Wars 8" has such a short period of satisfaction, but most of the time, the film abandoned the foundation of "Star Wars", but wanted to become in its own form. It's more complicated-the result is of course obvious cleverness. For most of the time, the whole movie is like the worst Marvel movie. The epic and war scenes have been confused by silly gags and cute pet sales, for fear that others don’t know that Disney is selling toys around it, and more. Needless to say, the plot design is like patting the head (milking a space cow? Sticking fish on the cliff? Really? Does this thing really need to reflect Luke's Jedi master image?). The serious lack of detail in the story has turned the foundation laid by "Star Wars 7" into a paper tiger that is useless, especially in the hasty treatment of the fate of the key characters (yes, it is the "hero does not ask where the source" is. Luke of "Anger Management") is disappointing.
In the story of "Star Wars", the important focus is on inheritance and fatalism. Relying on the Force, this kind of dramatic setting of entangled fate between the characters has made generations of fans unstoppable. And "Star Wars 8" is perfunctory on the key points of the plot, making the Force itself almost a plaything that everyone can get, and this kind of self-destructive adaptation is enough to go down in the annals of history.
Lack of deep motivation, acting solely on the spirit, this is the motivation of most of the main characters in "Star Wars 8", from Rey to Luke to Finn, almost everyone is angry except for playing tricks. The characters are designing and advancing. There is a serious problem on (Captain Fasma is wasted again and again for the last time), what about digging into character relationships?
Of course, not everyone needs a rich background story, but those characters who play an important role in promoting the plot do need more reasons than "roll up your sleeves and do it". Where do these characters come from, where do they go, and what kind of personal motives are there besides the label of good and evil? These largely ignored issues are far more important than Disney's imagination. On the other hand, only Adam Driver’s Kylo Ren showed signs of maturity, breaking away from and surpassing the simple distinction of good and evil, even more than the 6 or 7 main characters of the Resistance Army. There is something to watch, and it can even be regarded as the first protagonist of the film. This also makes him one of the most complicated Star Wars characters and an attempt to diversify the narrative.
But Ryan Johnson’s other attempts can only be said to have failed. The whole movie is like a cliché video game. The movie relies heavily on action scenes. You can even easily see which ones are NPCs, which ones are side missions, which ones are QTEs and checkpoints. Too many lightsaber battles and fierce battles in space make the movie seem extraordinarily full in the 2.5-hour market, almost enough to match George Lucas’ obsession with special effects fighting in the prequel trilogy. At the same time, Finn and the new character Rose have almost no use for the main plot in the splendid casino branch, completely independent of the incident of the resistance army falling, completely unclear.
With a series of crappy comedy and non-comedy designs, Ryan Johnson successfully ruined "Star Wars 8", while injecting massive Disney movie elements into the ruins, and finally made such a four-unlike appearance. In addition to aesthetic achievements (for the first time since the "Empire Strikes Back", the "Star Wars" movie has paid such attention to color and composition), the whole movie seems to bear the title of "Star Wars", clichéd, loose and Ordinary space movies lacking ideas.
Does it look good? It's really good-looking. Is the lens beautiful? It is indeed beautiful. But such an empty and harmless embroidered pillow is not a worthy sequel to the true story of "Star Wars." Undoubtedly, Disney, which is full of self-confidence and wallets, will continue to follow this golden avenue explored by Marvel. More directors and screenwriters with mediocre qualifications but able to complete the task will join these huge money-filled ones. In the commercial film series, all Disney commercial blockbusters are as funny and empty as the extras of the Marvel Universe until you can no longer recognize their original appearance.
As a fan of these IPs, as an audience, there is nothing you can do.
The so-called rat breeding, the classic story of "Farmer and Snake" finally appeared in the form of "Audience and Mickey Mouse".
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