I don’t know the original game at all, and I don’t care about any game adaptation film. Because there was no expectation and understanding, the misunderstanding and expectation caused by the notice made this movie-watching experience possible. It's not disappointing, it's just "the wrong version". Where is my black-winged angel? Isn't it the ultimate boss? Is it just an illusion of excessive drug use? The background setting of Norse mythology is very exciting, but that is only for the game, and for this movie, it does not necessarily mean that this setting is so exciting.
Gunfights are very gunfights, blasting is very blasting, bullet time shots are very dazzling, (but nowadays which gunfight movies don't use this kind of shots), aerial photography of New York has shaped a city full of crisis. But I always feel that these are only in line with the basic element requirements of general action movies, and I can't say that it is wonderful. I want to say that the meaningful tones in the film begin to pale and symbolize the hatred that entangles Marx's heart; after revenge, when the sun is re-projected to this gray-shrouded city, everything is restored, and the symbolism has been suppressed. The big stone in Marx's mind was lifted. But when I think about it, the application of this kind of tonal change is actually nothing more than that. How come I see it in this film that it seems so precious? Strange~~
Warlberg's frowning expression persisted for more than an hour, whether it should be praised or degraded. It was a bit of a pleasant surprise to see Nelly Furtado as the wife of a deceased husband in the film. I didn't expect the little queen of the music world to have a cameo as a supporting role.
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