As a violent film master on par with Kitano Tarantino, Wu Yusen has his own unique style, such as male power, or the friendship between two men, or the passion of the protagonist, but in this movie, For the American heroic beauty. (Although the beauty is not bad by herself)
Another example is the signature slow motion. Wu Yusen is generally used to express a certain entangled and cruel complex situation, which is not reflected in this movie. It is not that the external slow motion is gone, but the inside. Kind of grievances, the hero's bloody pride is gone.
The display of violence is completely indifferent. Wu Yusen’s gun battle is unique. The well-known church battle is almost as exciting as some passages of "The Godfather". The selection of images, editing, and lens combinations are unique in this movie. But I have never seen it again, some are just the chaos of Hollywood's signature camouflage submachine guns.
For the East, especially the Chinese directors, whether to stick to the style and carry forward, or to seek change and innovation, is a major issue. The issue is actually the issue of Zhang Yimou and Chen Kaige. Banner, which is good, lest God know.
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