When Mr. Brooks talks to the other "me" Marshall inside, the film suddenly becomes full of dark comedy. The image of the former can be used with perfection. To describe: a handsome and warm husband, a good father who takes care of his daughter, a philanthropist, an elite CEO in the business world, his shadow Marshall will come to bear all the evil nouns: bloodthirsty, cruel, calm and cruel, and the police are helpless for it The "thumbprint killer". Why did Mr Brooks kill? He gave this "reasonable" explanation: "Addictive. "What's more painful is that he doesn't enjoy the thrill of killing, simply because an opium-like insufferable idea makes him the initiator of a serial killer. It's an obsessive-compulsive tendency. He can't help reaching for his prey's hand. Every time he kills, he appears elegant, steady and methodical. He shows full patience for his prey. He can see the blind spot of his opponent in the shortest time, and waits for the best time to kill the target. Looking at Brooks' face because of the age The baptism leaves a knife-like pattern, and I think he is charming and deadly sexy at this time (indulging in his own bad taste).
Mr. Brooks' dual character can give the audience a profound impact on the idea. In fact, there is not much conflict between the two personal characteristics, unlike many people who reflect schizophrenia, such as "Fight Club", "Genius Ripley", " The diametrically opposed dual life trajectories and polarized thinking styles of the protagonists presented in classic films such as American Massacre. Brooks and Marshall can get along well and have complementary personalities. Marshall gives Brooks some opinions and opinions from time to time, while Brooks has to control big picture. The two have an interesting contrast in the image: the director either uses beautiful and skilled front and back shots, or lets the two show the primary and secondary points in the composition of the picture, and the auxiliary relationship in tandem has a subtle form of interaction. Let the audience experience how the art of murder is formed in the mind of an elegant gentleman, and then how he has a good chance of implementing the plan. And let the two play a corner to show the two worlds in Mr. Brooks' heart. Kevin Costner really turned the image of a righteous cowboy and romantic bodyguard upside down to play such a challenging pervert role, and it turned out that he was the right choice.
Brooks' shrewd, cruel and rebellious character "charm" has been magnified to the extreme, even making the plot appear both weak and strong, as if the content of the story must serve the aura of the powerful characters, and the power of the characters steals the brilliance of the show. . Director Bruce A. Evans and screenwriter Reynaldo Gideon have "split" the characters together in the setting of the plot. The content of the film is not complicated. If the plot is divided into two major story lines, then one is naturally Brooks and his family life as the story line, and the middle is divided into two small auxiliary clues: Sadly inheriting Brooks' schizophrenia genetic gene Daughter "Jane", and the prey she sent to her door: photographer Smith. The daughter is also a "fine" murderer, and this family is really explosive. However, in the play, the consequences of the daughter's crime and the criminal tendencies caused by schizophrenia are handled a bit anticlimactic, opening a suspenseful start, and then there is no explanation of the ending, which makes the audience's expectations and guesses come to nothing, and hastily passed it over. . The scene of the photographer is very good, especially highlighting the chess line strategy of Mr. Brooks and Boob. How could a young man risk his life to threaten the devil killer without knowing the strength of his opponent in advance? From this play, the audience can also see how Brooks plays with the prey, the image of the protagonist is beautified by infinite evil, and the expression of dual characters is also very innovative, with two characters as one person and two people talking to each other. The point of view is to give the audience a new experience and look at the dark side of human nature from different angles. Otherwise, the point of view of this film will undoubtedly be deducted. The audience was completely intimidated by the "charm" of Brooks' dual personality, temporarily disconnected from the need for the plot. But this sense of separation of the characters over the plot will not last long, and the story will go to the road of "splitting" later.
The second storyline focuses on the character Tracey (Demi Moore), a female police officer who has been entangled in divorce lawsuits and the investigation of the "thumbprint killer" case. If the first main line is closely related to the characters and the plot, the second main line is relatively disjointed and incompatible. The directors want the two main lines to overlap, adopting parallel editing and separate narratives. At the end, there must be a collection, and then reach the meridian that strengthens the depth of the story and opens up the climax of the ending. But obviously this aspect is relatively pale and uninfectious, and it has become two bifurcated lines, that is to say, two main plots, each with its own style, without the wonderful rivalry between the policewoman and Mr. Murder Brooks, guessing each other's intentions and cat-and-mouse The thrill of the game makes the two main stories lack an interactive relationship. The plot was unexpectedly weakened. He didn't look excited at all. The two finally communicated on the phone, and they felt that it was a slap in the face. The choreographers wishfully deified Mr. Brooks's thoughts and showed that no one could catch him, vaguely denying the possibility of a sharp confrontation between legal sanctions and criminals, maybe It's a slightly lame way of trying to create a perpetually unresolved regrettable ending to shock audiences.
But the ending has the momentum to turn the tide. I thought that finally Mr. Brooks' dream could be briefly analyzed by Freud's "Analysis of Dreams": a dream is the embodiment of a wish. There are several scenes in the film where he prays devoutly to God, all of them have a strong desire to atone for sin, but he cannot get rid of the two contradictory feelings that murder is an "addiction". He longed for someone to end his sinful life, but to be decent, not to be criticized by outsiders, and to maintain his perfect image in the outside world, so it would be more appropriate to use his daughter as the incarnation of the murderer in a dream. But in the end, the daughter still seemed to want to "inherit her father's business", but her daughter was obviously not as old-fashioned and calm as her father, and was described as stupid and vulgar. The father has to clean up his daughter's mess, which invisibly adds to Brooks's more hopeless confusion about the future. The prophetic ending of the film, which is both true and illusory, immediately elevates the slightly sluggish plot content to a height that makes the audience think deeply. The two dimensions of dream and reality are interrelated, and painful nightmares are used to imply the reincarnation of reality. .
View more about Mr. Brooks reviews
