It's not terrorists who are scary - "Nowhere to Run"

This is a story about a daughter. The protagonist runs away because of her daughter and is acquitted because of her daughter. When the film was introduced, the scissors cut 21 minutes of the plot. I don't know how much detail these 21 minutes contain and how much it will affect the audience's understanding of the film. From the part presented in this mainland release version alone, it is difficult for the author to interpret it as a reflective film. Instead, the film focuses on the protagonist's love for his daughter. A film that seems tense but bland.
The film director Redford plays the male lead, LaBeouf plays the male lead two, and a large group of old Hollywood veterans and actors are eager to join in cameo appearances. It seems that the recognition of faces by stars has become one of the great interests of the film. The film's narrative revolves around the duo of Redford and LaBeouf. The two clues run at the same time and finally come together, a very typical way of storytelling. Redford, a former member of the Underground Weather Station, went incognito as a lawyer after being listed as a wanted terrorist in a case from thirty years ago. However, in order to get the news headline LaBeouf's intervention, Redford's identity was exposed. In order to save his little daughter's life from ruin, he started a road of escape. However, LaBeouf, with the deepening of the investigation, seems to have established a view of justice in his heart. He no longer simply pursues news value, but begins to trace the truth of what happened 30 years ago. Meanwhile, Redford investigates the truth while on the run. What brought the two clues together was the policeman who took over the incident 30 years ago and the eldest daughter of Redford and his old lover. The plot has developed here, and the routine of the whole film has basically been completed. It is easy to think that the old lover will take the initiative to surrender for the sake of her daughter and let Redford be acquitted. The rhythm of the whole film is acceptable, and the soundtrack tries to render this tense atmosphere, creating an illusion that the film has a fast rhythm from the audience's hearing. But in fact, the rhythm of such a movie with a lot of literary drama is difficult to achieve the purpose of speeding up through subtle editing techniques like action movies.
Strictly speaking, the organization called the Underground Weather Station in this film is just a revolutionary radical organization, not much different from the Red Guards during China's Cultural Revolution, and they are also the ultimate losers. However, this film dares to reflect on that absurd history, and even dares to make a voice that is not so in line with the main theme of the United States, emphasizing freedom and truth. The editor-in-chief of the newspaper in the film once mentioned: the news is dead, which is not only a critique of reality, but also a series of behaviors after suggesting LaBeouf's character, thus praising the brave and fearless journalists in history who dared to reveal the truth of the incident .
I don't know what the domestic scissors are afraid of. They want to cut up to 21 minutes of this film. Maybe they just like this kind of father-daughter relationship full of human brilliance, and they don't like to reflect on history.

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