"Fuse" with surprises

The purpose of watching martial arts action films such as "Fuse" is originally for martial arts rather than literary dramas, and more importantly, to let one's mind completely relax and have a good time. But this time Donnie Yen and Wilson Ye gave me a pretty good surprise.


It would be a stretch to say that the plot is outstanding or in place in this film. Anyway, Hong Kong martial arts genre films have always paid little attention to this aspect, and their selling points will always focus on violent and bloody fighting scenes. So the plot of "Fuse" is nothing more than some consistent police and bandit lines plus a little "philosophy" of Hong Kong-style civilian life (that is, the dialogue in the play often speaks a sentence or two of "Hong Kong dialect" that seems reasonable, intentionally or unintentionally). Of course, the protagonist is usually an anti-institutionalized model that emphasizes individualistic behavior. Therefore, if the script of is strictly required, it can only be said that the series is a little higher than that of and . The higher factor is actually that it will not be sloppy, concise and straightforward, and it has nothing to do with reducing the delicate and pretentiousness of mother-in-law and mother. The important plot arrangement has successfully directed the spearhead to the action scenes.


The martial arts part is undoubtedly wonderful. I'm a complete layman in martial arts, and I have absolutely no idea about the fighting skills, choreography or power control in the movie, so I can't really see the difference from his previous movies just from the actions of the martial arts. Mixed fighting, which is popular nowadays, can be played in a lot of fancy ways. On the contrary, the scene setting and lighting and atmosphere of the martial arts show in this film are more realistic and precise than the previous works (Slaying the Wolf, Dragon Tiger Gate). The most impressive duels in the film are from the scuffle in the elevator to the chasing. The lore fight in the snack shop, the sniper fight in the grass, and the final battle between the two in the broken house. The smoothness of editing in these key scenes can be seen from the neat continuous fighting scenes, and the tacit understanding and good lens coordination between the director and Donnie Yen can be felt.


This time, Donnie Yen and the director pursued the realism as much as possible in the martial arts design and scene paragraphs, avoiding the usual Hong Kong-style action close-ups that inevitably added some "nirvana skills" or emphasized some exaggerated superman-style cartoons. action". This is the biggest success of with its "flashy but not unrealistic". The setting of the scene and the use of light create a simple sense of presence, which makes me think that this film has the charm of replying to the realism in Hong Kong martial arts films. . Although there are many martial arts scenes deliberately set up by the director in the previous works "Dragon Tiger Gate" or "Slaying the Wolf", they are all too typical of Hong Kong-style comics, as if watching the live-action version of Xiangwuda comics. But this "Fuse", especially in the final duel in the broken house, can definitely be seen that Donnie Yen and the director are striving for the lighting atmosphere, the use of camera transitions, the control of color tone, and the action design of martial arts. People are completely new, and this is the aesthetic principle that strives not to lose realism in production.


I think this is the collaboration between Donnie Yen and Weixin Yip that they have finally found their own style pattern. I hope they can continue to seek breakthroughs on a more pragmatic basis in their lower works, and never go back to those Hong Kong-style comic-style martial arts dramas. Okay....

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