One is that you must appreciate the skills of photography and the director's skills in finding beautiful scenery. Really nice view!
The second is that the atmosphere of the movie is still very good, relatively compact, the two lines are intertwined and blended!
The third is that the design of the ending was unexpected. Everyone should have guessed the murderer, but they didn't think it was that simple. I did give a little surprise!
The fourth is, I don’t know if it’s me, or the director deliberately cut it tightly, a movie that feels very fast and short!
A good reasoning suspense movie should meet two conditions: first, you cannot guess the answer until the last moment; second, the ending is unexpected, and when you think back to every detail, it is reasonable. The reason why Hitchcock's works endure is that these two points arouse our appetite.
From this point of view, the French film "Undercurrent" is considered a success. The brilliance of director Matthew Casoritz is that he did not deliberately mislead us to get a wrong answer like some crappy detective movies we have seen before, focusing the biggest suspicion on an innocent person. (Those movies have been watched too much, and I have also mastered a rule: the little person who seems dispensable and the most inconspicuous in the movie is often the murderer). He even generously let us know part of the mystery from the waist of the movie, but it was precisely this mystery that gave rise to a new mystery, and waves of suspense were unresolved: According to reasoning, the murderer must be "that person". , And "that person" should be missing a finger, but the "that person" we see, but the fingers are intact! How is this going?
Another highlight of the film’s narrative structure is the narrative method of "two-line three-dimensional intersection": two cases that occurred in the same place seem to be irrelevant on the surface, so two police detectives who have not met each other Independent investigation. However, with the deepening of the case, the doubts of the two cases gradually came together, and "guided" two police detectives who did not know each other but had different personalities to "meet" dramatically, forming a small climax in the movie. And with the unification of the two lines, the case gradually became clear...
Jean Renault's performance is very familiar, still following the style of "This Assassin Isn't Too Cold", not stunned, taciturn, and calm. But it is precisely because of this that it makes people feel that there is nothing outstanding. The performance of the male No. 2 Vincent Cassel is striking, real and well-controlled, especially when he was in the warehouse investigating the "skinheads" but was angered by them and put down the police as a fight. A scene, even more vivid interpretation of the hot and hateful personality of Detective Max.
The film’s clichés are still inevitable: "Heroes" always make no mistakes, and on the opposite of the calm and calm "heroes", there are always inexperienced but self-righteous hairy boys. This is a common problem in almost all detective films; In addition, "heroes" are always in distress at the moment of "mortality", which is also unconvincing.
But this is only a small problem. While "Undercurrent" made me enjoyable, it also made me deeply disappointed. For a long time, I have a mentality of "looking up" towards French films. Although I rarely watch it, the unique cultural connotations of French films such as delicate, romantic and humorous have always been fascinating. I still remember that on December 28, 1995, on the Place de la Concorde in Paris, France, famous French actors Dedi Paio and Alain Delon destroyed a copy of an American movie in public. This is a commemoration of the 100th anniversary of the birth of film by French filmmakers. This move also means that after the collapse of German and Italian films, French films are still the vanguard of the global resistance to Hollywood films. However, "Undercurrent" is all Hollywood routines, from the camera rhythm, film language, action, etc., even the two male protagonists are actors who have successfully penetrated into Hollywood. The artistic features of French cuisine are gone, and some are just American fast foods that will fill you up like a McDonald’s but have no aftertaste. If this is just a non-mainstream French film, it will not have much impact. The problem is that the film received rave reviews when it was released in France at the end of last year. The audience number exceeded one million in the first week, and became the top-selling French blockbuster in 2000. It won the best French film award, the Caesar Award. Five nominations including director, best photography, best editing, best film music and best sound!
All fell. Just like the "undercurrent of Nazism" revealed in the film, Hollywood movies are the unstoppable "undercurrent" of the world's film industry.
View more about The Crimson Rivers reviews
