It's a very funny movie, but I don't know how to control the laughing point and I don't know how to choose. Too much play makes the characters appear unreal in the middle and late stages, and in the middle stage, it looks long-winded (the bullet point, the police officer's game room, etc. are all too long-winded), and the film starts to get out of control at the midpoint. , the rhythm is chaotic.
The overall structure has a big problem, because the sense of segmentation is too obvious, and the characters are emotionally incoherent, and there is no sense of coherence, which makes people feel that they have stopped breathing several times. The structure is improperly designed, and there are too many juxtaposed paragraphs (the three scenes of the bullet police officer's game stealing easter eggs are too purposeful like an RPG game, and the characters' emotions are completely juxtaposed without ups and downs, which makes people uncomfortable).
The emotional logic of the characters is handled too hastily, the emotional lines of the characters (starting from the midpoint of the film) have no ups and downs design, the trough is not the climax, the climax is not the climax, the character's emotions seem to be the same from the moment they know that the brother is really caught status to the end. And the main character relationship line (male and female protagonists) is too undesigned (generally speaking, the main character relationship should always fluctuate and be obvious throughout the film, and only the male protagonist does not want children in the film. The trough design, and this point It didn't play a role in the plot at all, and the characters seemed to be finished talking and didn't take it to heart at all).
The original character setting of the movie was great, but it was lost later. The protagonist, especially the heroine, is set too stupid to play tricks, losing the emotional authenticity of the characters and reducing the charm of the characters.
The lines are great, but they don't follow the emotional logic of the characters, and they start to get out of control in the middle and late stages.
In the story, the scriptwriter's traces are too heavy and deliberate (the car stopped at the mansion where the easter eggs are located, and the man asked everyone to go back and plan to act by himself. Why did he bring them here? Anyway, only he knows the address and really wants to act by himself. Nope, that scene was all about explaining to the audience why those people risked their lives to follow), too many wasteful scenes (from the first time my brother was rescued to when he jumped out of the car, there were long-winded scenes, and they were not rescued at the beginning. My brother is absolutely fine, it feels like it was imposed for the car chase scene), sacrificing the most important characters' emotional logic and realism. The most terrible thing is that the storyline does not affect the emotions of the characters to drive the emotions of the audience, so that the audience loses empathy for the characters and does not care about the fate of the characters (the first time I failed to save my brother, the hero and heroine had no emotional reaction to this incident, it was too strange too cold blooded). The various reversals in the third act are like dazzling skills, but they are all too routine without any surprises. The only thing that arouses the audience's emotions in the whole film is that the police officer will die, but the screenwriter did not realize the value of this emotional rendering, and easily used it in a worthless reversal.
The beginning of the movie is very exciting and attractive. The characters and stories are well established at the beginning, and people have high psychological expectations for the film, but they continue to disappoint from the middle... I feel that the screenwriter is very talented, but the experience and basic skills are even basic Screenwriting knowledge is not enough.
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