The basic grammar of modern Hollywood is built on the front and back. It is no longer a "narrative" but a "dialogue". But what is scary is that the purpose of the dialogue is not to communicate with the screen, but to repeat the logic of the body to emphasize the action. The film's shallow focus and front and back hits are almost fully covered. Types are types and nothing else.
As far as this story is concerned, there is a bit of meaning outside the whirlpool, but the involvement of the woman foreshadows the black ending and also makes the brother relationship between Rayner and Affleck unresolved. Affleck gave up the duo drama of stealing the line of fire and wanted to be a criminal's life diary. But all non-superficial entanglements are cultivated too late and too early... As for the two powerful factions in the whole film: Chris Cooper and Bosswick, they are completely two tools. The unreliable narrative of the late mother makes everything Da Qiu Mingming see unbelievable. Not to mention the nonsense love between the heroine and the hero of the bully and the victim... The love scene does have some role in promoting the characters, but it almost hurts the rhythm. The complete rear drive of the conflict structure makes the film almost recklessly look like two films.
The whole film is played three times, once at the beginning, once in the middle, and once at the end. There is no small delay in practice, it is all supported by the details of life drama. Ninety minutes was fine, another half an hour was tough.
So the end of the center is still full of blood and hatred of the thief alone. And whether Rebecca Hall's "sunny day" is a false confession to lead a snake out of a hole or a sincere hint to sell a flaw is unknown, so this one also gives Affleck's final decision to leave the world. The devaluation of the moral sense of fear of death is an anesthetic, and the audience can accept the man who does not fulfill his promise of escape and paradise without contempt. This is better. After all, people always seek advantages and avoid disadvantages. That kind of true love is not sold to death, and even if the net is in the sky, it must go with the lover "Public Enemy" Dillinger / "Pirates of Fire" De Niro The hero of the style has long since passed away, and Affleck is not always abandoned. The dollars and confession cards buried in the garden also make people believe that the heartbeat of the two is like a reunion in their old age like "Love in the Time of Cholera". There are fewer male and female thieves who have been beaten into sieves, and more tender styles of Zihuatanejo Illusion. When Affleck went incognito to represent the sky, will the two reunite at the covered bridge? The beauty continued, and no one was hurt, (of course Jeremy Renner was bleeding on the streets) How good...
Affric is not a kind of acting and directing that is unreliable at first sight.
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