The first impression of "The American" is dull, so dull that it makes people feel that it is pretending to be deeply sad for the new words. Nearly half an hour after the beginning, there was no trace of background music, not even a trace of illusory notes. Could it be said that this is the director deliberately creating an atmosphere of solemnity and depression? Similar to a serious and depressive film like "Seven Days Revenge", without background music, it is really silent at this time. But in the case of "The American", in order to express the loneliness and helplessness of the killer's heart, the Italian town is isolated from the world and far away from the crowd, so there is no need to have such a sad face. Secondly, the first half of the plot does not have much suspense and horror, and the individual performance of the actor alone cannot catch the audience's thoughts. With sporadic and melodious music embellishment, whether it can help enter the drama, aside, at least it will not make the "sleepy pie" enter the best state prematurely.
After watching the trailer of "The American", I felt that the plot would definitely be twists and turns, and emotional entanglements and wanderings would also have room for expansion. Regrettably, these simple ideas completely run counter to the concept of the film. Except for George Clooney's thoughtful face from the beginning to the end, people seem to be able to perceive a posture that the mountains and the rain are about to come. There is not much tension in the plot itself. The killer's world is comparable to the sinister rivers and lakes, with dignity and supreme glory in the blood and blood. When he was young, he was a powerful martial arts hero. "The Americans" tells such a simple story that is so clear. Compared with the popular "Hitman" of the Golden Plum Award, even purely compared to the plot, it is not as "suspense" as it comes. Since the plot itself is not much to watch, you can only stare at George Clooney.
Probably because the plot is too weak, I personally feel that the old dramatist George Clooney is rather dull this time. Of course, some people will say that this is called a gentleman's manner, low-key dealing with people, and strict life style. I must admit that he did perform the above-mentioned charm, but he blindly pursued rigor and elegance throughout the article, so I have to say that it is a bit of a flowing water machine, like a puppet completely controlled by the director. "Wild Target", which also reflects the involuntary and compassionate feelings of the killer, is exactly the same as the killer played by George Clooney. It is traditionally conservative, meticulous in thinking, and clean and tidy. However, the latter incorporates a humorous and relaxed tone, and the changes in life style before and after the killer have formed a quite joyful contrast. This is the easiest way to make the audience enter the play. The posture of "The American" is too high-end, unhurriedly paced, while walking gracefully in small Italian towns, while at the same time interpreting the identity of the killer deeply and unsmilingly. Among them, there are a lot of uninhibited beautiful dew points interspersed, which has an indelible contribution to the atmosphere of the film. Dew point is actually a very sophisticated art, and Neutrogen can add points to the film if it is appropriate; Neutrogen is abrupt and embarrassed, it is vulgar and mediocre. In this way, the sword walks slantingly and puts the label of "literary and artistic fan", and naturally loses the audience who is eager to experience the martyrs' twilight years and feel a sense of enthusiasm. The rest, the optimistic audience, must be the most loyal literary film control, picture control, and scenery control.
The filming of "The American" for such a literary petty bourgeoisie does have its own unique connotations. It is also a bold and confident technique to give the audience the right to speak. However, the film has weakened almost all the elements covered, which makes its content extremely boring and barren. It weakens the assassin’s coldness and indifference, weakens the hero’s passionate feelings about being sad about the beauty, weakens the killer group’s ability to control and huge tentacles, and weakens the catharsis of most normal emotions. Even the most elegant and comfortable literary and artistic movies should have a little climax. Until the end of the critical "life and death sniper", the feelings were still cherished as gold. Suppressing the mixed emotions, in the end it slowly dissipated like wisps of light smoke, and there was indeed a kind of unspeakable sorrow and helplessness.
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