The last "War of the Gods" was criticized as fake 3D by the audience. This sequel draws on the lessons of the previous game and puts a lot of effort into 3D effects. Many scenes create a sense of impact on the audience, and the audiovisual effect is really good. Shortly after the beginning of the story, the hero fights with the monster, and then faces the one-eyed giant, and finally fights the demon king Cronus. The rocks are flying and sparks are everywhere, and the action scenes grab people's attention tightly. The shaping of hell in the underworld and the exploration in the maze are bizarre, creative and in line with people's imagination. In addition, I was impressed by the fast-moving shots, the narrow passages of hell, maze, etc., allowing the audience to explore like a roller coaster, always worrying about their heads hitting a wall.
In addition to the realistic special effects and immersive effects, compared with "Alien Battlefield", the rhythm of this film is also more appropriate. The movement and the static are suitable, the literary drama and the martial arts are interspersed, which gives people excitement from time to time, and refuses to be cold. The film is more than 90 minutes long, not procrastinating, not lengthy, and some viewers think that the final matchup with the big boss is not tragic and difficult enough, but the three armies' life, one blow, and simple and neat, are actually understandable.
As a 3D visual blockbuster, in addition to focusing on the cold CG shots, the film also focuses on the expression of emotions. This is somewhat stained with the light of Greek mythology. The gods in Greek mythology are full of emotions and desires, and they can't restrain their desires more than ordinary people. It happens that the protagonists Perseus and Aquinas in the film are both "demigods", and the combination of humanity and divinity in them is more reasonable. The core emotions of the film are the affection between father and son, brotherhood, and love takes the second place. Emotional conflicts include jealousy, revenge, forgiveness, sacrifice, etc. It tries to explore that although divine power can be used to make waves and call for rain, human patience, persistence, and primitive love are the ultimate weapons to save the world.
From a story perspective, this film is a relatively standard typified operation template. At the beginning of the film, Perseus accompanies his son and is a hero willing to be a fisherman. The crisis fell sharply, and the hero had to make a choice between retiring and coming back. This situation is very common in genre movies, such as the old cowboy played by Clint Eastwood in the western film "Unforgivable", the vampire hunter in the vampire theme "The Exorcist", and even the "History of Violence" So is the ruthless killer. There are more in Chinese martial arts films, such as Wang Yu in Shaw Brothers movie "One Armed Sword", Er Dongsheng in "The Sword of the Three Young Masters", and Yen Zidan in Chen Kexin's "Martial Arts" last year. Although "Wrath of the Gods" is an upgraded version of the magical special effects blockbuster, but the basic genre elements remain unchanged, once again proving the effectiveness of the film commercial genre creation norms.
The theorist Propp once studied and analyzed Russian folk fairy tales a lot, and summed up 31 functions and 7 story roles from them. Later, some scholars found that it is also appropriate to apply these narrative functions and story roles to movies. Film narratology theory. The movie "Gods" also has many similarities. The villains, the accomplices of the big villains, heroes, heroes' helpers, messengers, princesses to be rescued, etc. in the 7 character models can all be found in one-to-one correspondence in the film. Characters. As the most prominent, Poseidon’s son Aquina plays the role of "navigator" in the film and is a typical "messenger". In addition, he is also responsible for gagging and is a comic character.
This film is a relatively successful commercial genre, which gives people a sense of enjoyment and conforms to the audience's most basic movie-viewing psychology. Some inspirations can be drawn from domestic commercial films. The so-called "gods" are the gods in Western culture. When can domestic films create stories about our own "gods"?
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