Compared with mainstream masterpieces, such "non-mainstream" comic-based films generally have a slightly lower investment cost, and the cast and special effects are naturally hard to compare with those first-line comic films. However, in terms of visual style and the charm of the story, they can often be self-contained and unique, and then, like this kind of comics themselves, attract a group of special fans in a small range. In this way, in the usual sense, " "CULT" movie is not an exaggeration.
The ethereal background of the era, mysterious witchcraft, magical character modeling, and cold weapons with a cold texture, the determination of "King's Sword" in the "CULT" style can be seen. In terms of visual style alone, it is clear from the old version of Arnold Schwarzenegger 30 years ago, and it can be viewed as a brand new independent chapter. However, there is a disconnected connection with the old version in the plot of the story, and the addition of 3D technology has given this cliché story a whole new life. This kind of relationship is actually a little bit from "New Dragon Inn" to "3D Dragon Gate Flying Sword".
With the aid of 3D technology, the wild times that originally existed only in 2D screens became real and three-dimensional. Several spell rituals seemed to happen in front of the audience, giving people an immersive sense of oppression; The ruthless fight also shows the essence of violent aesthetics in a three-dimensional way, which just right shows the twists and turns encountered by the warrior Conan on the road of revenge. The endless emergence of action dramas in the middle and late stages also seems to imply that the production cost of this film is higher than the general "non-mainstream" comic movies.
In addition, the film’s director Marcus Nispel also got a little bit of Michael Bay’s true biography in handling the fierceness of the action scenes. After all, his predecessor "Friday the 13th" was written by Michael Bay himself. Producer. So looking from this perspective, we will find that the entire "Sword of Kings" basically replaces the firearms in the Michael Bay movie with swords. Of course, it is not something that can be accomplished overnight if you want to fully learn the rhythm of the coach. Although the large-scale fighting in "The Sword of Kings" is fierce, it is more or less less relaxed. There may be some discomfort for story-oriented audiences, but for popcorn movie lovers, it is undoubtedly a visual feast.
Having said that, at the moment when Hollywood popcorn movies are popular now, the meaning behind "King's Sword" is far higher than the value of the movie itself. In recent years, Hollywood's big-name directors have always attached great importance to the training of new directors, and they have actively acted as the supervisors of second-line directors. The director of the film Marcus Nispel and the director of "The New Predator" Nimolod Antal are the lucky ones in this newcomer's plan. In retrospect, in addition to Michael Bay’s favor of Marcus, his small-cost debut "Frankenstein" a few years ago was even produced by Martin Scorsese. "The Sword of Kings" is a great opportunity for him. Although it is a niche movie, at least he has proved that his ability in scene scheduling is slowly improving with actual actions. What is lacking at present is the real It belongs to its own movie style.
The new director behind "Sword of Kings" is worthy of emulation by the CEOs of many mainland film companies. Imagine how many second-tier young directors have been supported by famous mainland directors such as Zhang Yimou? How many low-cost film producers are the directors we are familiar with? I think it's not that these famous directors are unwilling, but the old version of elitism and personal heroism of many film and television companies are at work. If mainland directors can put a few more titles on small-production films and take some time to support young people, the quality of small-production films in China will probably not be as bad as it is now.
Text/Count of Monte Cristo
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