The character and plot design of "Flash Point" is a continuation of the predecessor "Kill Zone.USA", but is quite different. The mixed fighting action design in the film has become the biggest selling point. Seeking novelty, change and perfection has always been the pursuit of Donnie Yen's action design. Every new film he acts as an action director strives to present a completely different action style from the previous one. In "Flash Point", Donnie Yen fully applies Internationally popular mixed martial arts () trend, you can see a large number of MMA scenes that incorporate Brazilian Jiu-Jitsu , boxing, Muay Thai, wrestling and other fighting techniques. The impact and visual effects of these scenes are unparalleled. In addition to the extremely popular mixed fighting scenes in "Flash Point", the shootout scenes in the film are also very visible. A gang of bandits played by Collin Chou and Donnie Yen in a wild sniper battle was extremely filmed. With tension
.
"Flash Point" has a three-dimensional and comprehensive characterization of the characters. Even good fighters such as Donnie Yen and Ray Lui have a large number of emotional and inner drama performances, not just fighting machines. The audience can see the hero Ray Lui in the film, both in the scene of not killing blood, and in the filial scene of feeding his mother. Donnie Yen, the hot-character policeman, Ma Jun, has both fierce fights with the gangsters and his confrontation. The inner drama of bad thinking about good and evil, as the undercover Louis Koo, also has struggles and fate similar to "Infernal Affairs". "Flash Point" shows a large number of love, family and brotherhood scenes, so that the whole film is not in a single combat film format, and the characters () are more three-dimensional and comprehensive, and the connotation of the film is therefore more profound
.
The "Brush Sniper" and the ending "Broken House Showdown" in "Flash Point" are refreshing. Although there were only five people in the "Grass" scene, the shots were like an army of horses. The connection between the shots and the shots was very smooth, and the switching between the long shots and the middle shots also "stuck" to the rhythm of the action scenes. It’s easy to get excited. In "Broken House Showdown", Ye's used a shot similar to that of Zidan vs. Hong Boss in "Kill Zone.USA". The lens drew a semicircle diagonally in the air, changing from looking down to it. Looking up, he also explained the characters and surrounding scenes. Such a lens language, reminiscent of words like "come on stage", is a clear hint that "the ring is about to start". I haven't had such a strong feeling in other films for the time being
.
The editing of this film is very clean, not sloppy, and seamlessly matched with the rhythm of the action moves, rendering the courage and charm of the fighting to the extreme. The action scenes have met the real chapter in the "brilliant" and have some stretched toughness. , As if temporarily retracting the leg during the spin kick, in order to make the next kick more powerful. The lens language and editing style are both similar to the urban style of Hong Kong in the new century: pragmatic and seductive, exquisite but not sluggish, fierce but not violent, and at the same time, it can reveal a memorable aftertaste in the stretch. It fully reconciles the "elite" The tastes of "and the masses" are not high or low, they can be shown on the table, and they can be accepted by the general audience
.
