The god of death came the first thriller that was considered a solid thriller back then-who said it wasn't me and who was in a hurry!
One of its freshness is that it took one third of the length to create the first wave of false alarms. Although some movies have used this kind of bluffing tactics in the past, they are more of an adjustment. The false alarm of the film not only has the complete structure of a disaster-like film (character debut -> suspense appears -> suspense upgrade -> disaster begins), the characters and details shown in it are more closely related to the subsequent plot of the film to form a complete On the whole, it can be regarded as "true and false when false is true."
After the first wave of climax, the film officially entered the route of a typical thriller (character death -> clues appear -> combat begins -> removal of threats). The second freshness of this movie is to break through the previous limitation of "weird power". The "source of shock" of both "chaos" and "man-made chaos".
There is no concept of "death god" in Catholicism. Does a person go to heaven or hell when he dies? So although this series of Chinese is translated as "Death God is coming", in fact, the people in the film only talk about death (which does not mean "god"), and define it as a kind of established "rules", and no one knows the rules. How was it determined? No one knows why these characters are on the "death list". They only know that this rule must be implemented and cannot be avoided. It is not only a supernatural phenomenon, but like a natural law, it is not subject to any subject's will. The impact is a bit similar to what the Chinese said, "The King of Hades wants you to die for the third watch, so he can keep you until the fifth watch."
Under this setting, all the factors that cause death are natural factors—the carelessness in human daily life + a little coincidence. In other words, these deaths can happen in daily life, or they have already happened. On the one hand, this greatly increases the audience's degree of fright (everyone may die like a character in the movie), on the other hand, it makes the protagonist no longer face a tangible or intangible subject but a "rule" , Thus forming the biggest suspense throughout this entire series-can one's destiny be controlled by oneself?
And the first part left a hopeful ending to this suspense-although fate is doomed, as long as you work hard, the ending can still be reversed by humans, which gave the viewers a great comfort.
Because of the good box office results. This movie gave birth to several brothers and sisters two, three, four and five. It is said that the dragon gives birth to nine sons, each of which is different. In fact, Death is here. In addition to the use of the false alarm structure and the concept of death, there are still some innovations-the "butterfly effect" is added, but the logic of "bypassing the rules" is very cheating.
In the third part, the structure is still exactly the same. For this reason, the false alarm that originally had the "surprise" function is not new for a wife who has been a wife for ten years. We are old-fashioned audiences who are digging their nostrils and disgusting. Roar, here it is again! We all know that you are fake, do you want to delay it for so long!". As for the concept section, it has also returned to the old path of "strange power and chaos", and has become "look at pictures and tell stories," and its visibility is greatly reduced.
So my sister didn't go to watch the fourth part.
I watched the fifth part by coincidence. The past two years can be said to be a "prequel" year, probably because the follow-up is too limited by the feature set, and the prequel is better.
The god of death came five and pushed the story before the 180th flight accident. Make sure that the protagonists in the film have no lessons to learn from. They need to find out the "rules of death" in a daze like the heroes and heroines of the first movie. In the second part, the funeral home uncle, who acts as the "key reminder" in the RPG game, reappears).
And this "death rule" can be said to be the most reasonable and most maneuverable in the entire series-it sets the death list to be a model similar to an airplane flight. It was originally a pit for each passenger, and it was registered by name. The plane took off with a full seat. So in theory, as long as you squeeze a passerby into your seat and the plane is full, it will automatically take off far away from you. Furthermore, the film finally verified this theory by the successful survival of a secondary character before the end of the hero and heroine. How much has given the audience the expectation that "the protagonist still has a ray of life".
In addition, since the survival rate of the first four movies is 0 (this movie is immortal, you also have to die), it seems that "fate cannot be changed" is a foregone conclusion and cannot be moved anymore, and it provides another thinking loop—whether or not before death Everyone is equal?
Compared with the first three (because I haven't watched the fourth one), the character setting of this film has one characteristic: the film uses a lot of details to clearly divide the characters into three camps-the bitch party and the ordinary party Party of good people. The heroes and heroines are kind and loyal. There is nothing to say. The black brothers and two women are ordinary people, and the boss's glasses women and mobile phone men are standard slut. In addition to the soy sauce for the second female hit, in the following process, the bitch party was happily wiped out, and an ordinary person (on the surface) took advantage of the rules to escape from birth, causing a kind of "bad people can't die, good people will eventually have The illusion of "good return".
Under the above two premises, not only is the protagonist who "sees death as home" appearing in the entire series for the first time and does not intend to use the rules to save himself, it is also the first time that he attempts to use the rules to save himself and points his muzzle at the theory of "death has a cause". Companion's plot. Therefore, without destroying the “objective regularity” of the death list, the hero and heroine’s opponent in the final survival battle is transformed from an “unchangeable destiny” to a “human being that can be killed”, which greatly enhances its chances of winning (at least in From the audience's point of view), and thus form the most exciting false release in the entire series at the end.
In addition, although there are still various nasty ways to die in this film, the black humorous atmosphere of the whole death process of the glasses woman and the mobile phone man, the details hidden in the film (if you pay attention to it, in fact, everyone's death factors in reality are related to It’s the same in the male protagonist’s vision. It’s the same when it’s smashed into the car or on the car, and the one that fell down is still falling... But the film didn’t make it clear and didn’t make a fuss about it), and the clever use of the rules. This film is more mature than the previous few full-bodied "teenage films".
Although I haven't seen the fourth part, the 3D effect of the fifth part is acceptable. The director takes care of the concave and convex visuals. Not only does the two people talk without pulling back but using the side pulling position, various methods of death are also presented from multiple angles. Greatly strengthen the effect of evil taste. Therefore, the movie itself can be regarded as a model of successful self-help under the limitations of the "Reaper Mode".
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