"New The Shaolin Temple" has become a huge, covering and penetrating advertising placement. In this film, The Shaolin Temple has not only become a harbor, haven, home, refuge, retreat, sanctuary, shelter , but also a salvation ground for spiritual rebirth. The Shaolin Temple has become a holy place that saves lives and even souls. Significantly, The Shaolin Temple is a Buddhist temple. In the two films named after "The Shaolin Temple", there is no clear word between Cihang Purdue and World War II. What Buddhism said, the sense of being born out of the light and dust is twisted by the film's feelings of joining the world that serve commercial interests, and it becomes playful and cutscene
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Benny Chan, a Hong Kong action director who has great experience in blasting and speeding, in this action scene, the most glorious thing is to turn the former motor vehicle into a carriage, and it is a sparkling speed experience. Apart from this, there is nothing to be said and commonplace. This film is full of the boring and pale of "so-called entertaining and entertaining". Speaking of the core narrative of the film alone, how Hou Jie, played by Andy Lau, converted from a murderous warlord to Buddhism, was scribbled hastily. This warlord, who was unwilling to let his brothers be worshipped, suffered radical changes and lost his daughter. The most direct reason should be revenge and seizure of position. However, the film was extremely rudely transitioned to his desperate desire, and he quickly lost his ambitions. It's not as good as Jet Li when he burned the scars in the old version of "The Shaolin Temple", he was also concerned about the more authentic and humane space of the shepherdess singing in the wild. The collapse of the core of this narrative makes the whole film unruly and unstructured
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"New The Shaolin Temple" puts the culprit of The Shaolin Temple catastrophe to outsiders. Let the brotherhood of Andy Lau and Nicholas Tse rise to the level of national hatred and family and country hatred quite comically. The many monks in The Shaolin Temple were even more in danger. The first thing they thought of was "let the people go first." This point has been unskilled in " Red Cliff ( Part 1)". It is not difficult to see that Hong Kong films still cannot keep the pulse of mainland audiences in terms of cultural appeals. Sitting up in a precarious manner, it seems to lead us on a time shuttle and return to another era. "New The Shaolin Temple" is such a novel and decayed film, which also exposed the symptoms of Hong Kong filmmakers' inadequacy after looking northward to China
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