There are many highlights in the film. My personal favorite is the copper combination lock like the old man at the door. At first, he lowered his eyebrows and half-opened his eyes lazily (if he had hands, he would definitely be holding a teacup), but later he was beaten by Bai Lily with three punches and two feet, his front teeth loosened, so he stretched out six small hands to hug him Turning around a few times, he reluctantly opened the door, but his eyebrows were still half drooping, and there was no sign of becoming submissive because of the brutality he had suffered just now. After the two entered the door, the uncle of the combination lock arrogantly shook the copper ring in his mouth, as if "heaven forgot me, but I am me in the end". This kind of meticulous design of small details is rare in domestic films.
Hollywood-style singing and dancing also add a lot to the film. Jiang Wu sat like a lonely wolf in the moonlight, and the two monsters darkened Chencang under his eyes. The lyrics are a bit deliberate to rhyme, which is the usual Hollywood style. I have never seen such a Hollywood cartoon's song and dance performance in other Chinese films. I give the director a thumbs up. This is a very familiar combination of China and the West, rather than a rhetorical and nondescript like "Rampage in Hollywood".
Unfortunately, because there are too many story lines (grandmother, the proprietress who sells demons, the blood demon, the four-money Tianshi, Tianshitang, the villagers, the villain...), some of the story lines seem anticlimactic and not "cool" enough. For example, the story line of Zeng Zhiwei and Wu Junru ended with the two people mistakenly thinking that the little demon king was eaten raw - "Ah, they ate it!" With just such a line, even if it is an account of the story of the two? This is not as good as the story of the male protagonist's little friend, the little monster Xiaowu, and the little monster king returning to the mountains. In addition, the "misunderstanding of childbirth" of the lady Yan Ni is also a bit far-fetched. Outside the door, she and her husband asked about the condition of the pregnant woman, the father of the child, and the child one by one, and Jing Boran responded one by one inside the door. If Yan Ni really cares, why not just stand up and push the door to see it? The screenwriter and director couldn't handle such a comedic conflict, so they could only let Yan Ni sit on the stool very anxiously and ask questions that didn't concern her. So the whole thing seems very unreal. If you look at this passage in contrast to Zhou Xingchi's "Nine Pins of Sesame Official", "Zhou Xingchi goes to a brothel to go to a brothel and encounters the emperor and can only hide under the bed", you will see the difference. The situation in this film, Yan Ni, is completely asking for the sake of asking, and being funny for the sake of being funny. Jing Boran and Bai Baihe's coping methods are not witty. "Who gave birth to the child?" "My mother." "Where is your father?" "Dead." There is no joke or technical content. In contrast, Yao Chen's line is simple and direct, so the effect is very good.
In contrast, Frozen, the protagonist sister and the man who raises cattle, and the supporting role Xuebao, who feel very cool after watching it, are very concentrated.
I'm choosy in the egg, in short, the good film didn't run.
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