6/10
Very bad. Far inferior to the first one.
By the way, I haven't written a long review for a long time. I complained about it the last time I wrote it, and it turned out to be a complaint again when I wrote it again. That's not good!
I really like the first one, it can be said to be my favorite European and American horror work except for Wen Ziren's series. The second part is called succession and development. In fact, this tail is not as good as not being continued.
Why is "Calling the Soul" classic?
In my opinion, it is because it does three things at the same time: content, form, and condiments.
Formally, the atmosphere of evocation, fright, and face are all first-class. In terms of content, the religious color and strong antagonism inherent in the "calling the soul" need not be said, and its hidden line-affection line (family affection, love) is undoubtedly very full. Coupled with gags from time to time, or the musical elements of the second part, these condiments are undoubtedly the icing on the cake.
The above three elements not only did not influence each other in "Calling the Soul" or Wen Ziren's other works, but went hand in hand to achieve the effect of 1+1+1>3. But it's too difficult for a horror thriller to do this. Needless to say, a horror thriller, even a major director's commercial masterpiece or literary masterpiece is also difficult to take care of everywhere.
In my opinion, the success of "Calling the Soul" and "Latent" depends on one thing only: Wen Ziren is too talented.
The first part of Sinister was almost done. The first part of "Sinister" still has some fusion of detective and horror, and is accompanied by small condiments such as soundtrack. In the second part, only monotonous and few frightening and lackluster literary dramas were left, and in the last ten minutes, this adventure of carrying elements such as ghosts, gods and demons was finally completely put on the table and turned into a whole. Battle Royale. The fate that the first male protagonist couldn't get rid of-the video recorder and video tape were easily smashed by the police, the big boss showed up and didn't do it by himself, and the kid fell down if he messed up. These can no longer be described as bugs. These are the emptiness of the plot caused by the negligence or irresponsibility of the screenwriter or the simple lack of imagination.
But when I finished writing such a long list, I felt uncomfortable or even unsatisfied, I saw a film review. He tried to interpret the second season from another angle, and concluded that "behind happiness lies evil", "every family has its own evil", and "family tragedies have their inevitability". Although I don't think the director and screenwriter thought of this level at all, I agree with this interpretation from the bottom of my heart. From this perspective, the so-called Sinister really comes from the heart and is everywhere.
Then diverge on this basis. Why do most horror films deliberately create a "scumbag"/"bitch" or a terrible family? Perhaps this also contains evil and retribution in the depths of human nature. Also the basic rules of the newspaper. The movie excavates this "evil" and enlarges it infinitely, and it may become a "ghost"
So after all, art reflects real life, doesn't it?
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