There are indeed some Japanese-style horrors in it, the part of children, but the disgusting bugs are still more European and American. To be honest, they are not scary at all. . .
Because the changes between the two worlds are too obvious, this kind of crude technique will make the audience very clearly think that these are fake when switching to the dark inner world, and it will definitely be reversed at a critical moment. This is also the case, there is only one teammate At the same time, it is impossible to create a real sense of fear in the heart of the audience through the constant dead people. At the same time, in the real world, the husband is looking for the truth of Silent Hill as an abandoned town. This would have been a good two-line development. However, the details are too rough, and there is no tension, so there is no real linkage between the real line and the main line. After all, the truth of the whole story is actually explained very clearly in the final basement scene. . . .
The existence of the witch has also made soy sauce. I haven't had much sense of substitution for her. The so-called evil is a bit out of line with the double exploration of the outer and inner world. The audience can only remember one obvious after reading it. The line is that the witch villain burned a woman. The woman did not die in the hospital basement. She relied on a nurse to send her whole daughter to an orphanage in the real world. Then after the movie started, the basement possessed the heroine. Kai Wushuang kills everyone, happyending.
As for the so-called religious culture in those scene transitions, all kinds of allusions and metaphors, many posts have been analyzed and analyzed. I don’t think it is necessary. In this way, the film has no intention of developing on the real religion, it is purely a small skill of the screenwriter.
From a one-sentence setting, the underlying logic of the story is good enough, what is lacking is the technique. If it is replaced by Wen Ziren, it should not be like this.
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