Little Red Riding Hood captures the big bad wolf. Most viewers are actually not very used to this kind of fairy tale logic. So the starting point of the film is quite subversive. The weak are not weak, the strong may not be strong, and the inversion of the advantages of the roles will make many fans of male-orientedism quite stunned to find that it is another movie that makes men seem especially stupid and incompetent, and can only be captured and reduced to sacrifice. The films—such as "Wicked Man".
The director is too eager to talk about the concept, or is too proud to have a concept that is still relatively new to talk about. However, just because of the fearlessness, it is unintentional, or more precisely, it may be deliberately ignoring some details that cannot be justified in the plot. Especially in the second half of the film, I was almost desperately trying to help "Little Red Riding Hood" figure out how to get rid of the crime--she was worried about whether she would be able to do it all alone--she left enough stupid clues. It was completely not as smooth as the film's beginnings and intentions suggest.
Whether it is the lack of a script or the director's inability to control the subject matter, there is no need to investigate these. In short, the brilliant idea is not an invincible killer, and the ingenious handling methods, the grasp of the film's atmosphere and rhythm, and the upper and lower connection of the narrative level are not secondary. At least as a viewer who admits that his taste is not very tricky and that he often has low standards and low requirements, there is a slight gap between the expectations of this film and the actual return.
Maybe the weaving could have been more perfect, but the director probably felt that the flaws did not hide the flaws, and it was understandable to be lazy. Overall, the tension is pretty good—the audience has to sweat for both protagonists at the same time, and doesn't know which one to sympathize with, whether morally or emotionally. Even if the male protagonist died, he could not sigh that he was still alive. On the contrary, he often gritted his teeth against the little girl's scheming and scheming.
However, the psychological basis that led to the various behaviors of the two protagonists is not very solid. In particular, the photographer was tied to the case and washed clean and cold. When he was about to be slaughtered, the retrospective and explanation of his motives for pedophilia and child abuse seemed rather deliberate. The photographer must have been a follower of Freud, and after studying several psychological works, he had a clear understanding of his own personality development and finally made up his mind to devote the rest of his life to the cause of child abuse. I just wanted to write a few words. In the spirit of low standards and low requirements, when viewing a film, always pay attention to as many highlights as possible. It can only be said that this film is highly watchable, slightly less credible, and has all the seasonings, but the heat is not enough.
Going back to the subject matter of this film, actually think about it-how novel is it really? It doesn't seem to be-what makes it difficult for us to accept is that it is not as simple as "snack is big, weak food is strong." But hatred is not limited by age; it can happen so early and so strongly in a little girl's heart, and she will do her best to pursue the justice that belongs to it, first distort everything, and then destroy everything. We are guarded against hatred and often not guarded against weakness. But Little Red Riding Hood does not mean kindness because of its smallness, and Little Red Riding Hood is likely to become a big bad wolf in the future.
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