one
Everyone is complaining, "Legion of the Living Dead" has too many loopholes.
I'm not in favor of finding loopholes in movie reviews. For example, why doesn't the male protagonist want the safe password? Isn't the employer the owner of the casino?
Why is this not a question for film critics to discuss?
First of all, film reviews are not written like this, and they should not be used for this purpose.
Second, no amount of these loopholes can overwhelm a good movie.
The urine points of these loopholes are mainly in the following aspects:
- possibility
- causation
- Chronologically
Let's talk about possibilities first. A good movie, fortunately, can make the impossible believable.
In classic movies, there is a lot about the impossible.
Speaking of causality and chronology, antiplot movies do not follow causality and linear chronology.
Even if it doesn't follow causality, it doesn't follow a linear time sequence, and it doesn't stop many antiplot movies from becoming a masterpiece.
Do not password vulnerabilities such as do not affect the quality of the movie.
Writing a film review should analyze the underlying reasons for the film's collapse.
Someone asked:
"A movie can't even be self-consistent with the most basic logic. Is it meaningful for you to discuss other things in the movie review?"
What I would say is:
Even if the logic can be self-consistent, the loopholes can be picked out without someone raising the bar.
There is a word called "flat earth theory". Human beings have gone to space, and many people believe that the earth is a flat film. He insisted, "The logic of your movie cannot be self-sufficient, because the earth is not a ball."
In this situation, do you have a temper?
Therefore, what a good movie pursues is not logical self-consistency, but infinitely close to the "prototype", because the "prototype" is based on the "original concept". The "original idea" is based on
Collectively Inherited Unconscious Ideas, Thought Patterns, and Imagery
above, and
pervasive in the minds of individuals.
To put it bluntly, if the film can be infinitely close to the "prototype", how illogical your film is, people will feel self-consistent. Because, in the face of such a movie, people don't care what's inappropriate at all.
If anyone has the guts to talk to the audience about "chat" at this time, the audience will dare to tell you, such a good movie, does it make sense for you to talk to me or not?
So, I'm not talking about "something else", I'm talking about how to make the film infinitely close to the "prototype". Because, when it is infinitely close to the "prototype", if it is not in agreement, it will be in agreement.
two
There are three reasons why Legion of the Living Dead crashed.
First, the audience can't figure out who to follow.
Who do you think the protagonists in the movie look like? It's like the task force in the first Resident Evil movie, the one that infiltrated the hive, and then they met Alice.
The task force was there, but there was no Alice. It doesn't have to be Alice, it's okay to be the protagonist. But there are supporting roles in this movie.
Why are they all supporting roles? This comes to the second reason for the crash.
three
The audience can't figure out what this group of people is drawing.
This team, they broke into the disaster area map is money. However, the mission went wrong and they decisively chose to survive. If you don't want to die, why did you come in in the first place?
The desires of these characters keep pulling the drawer, and such characters cannot be protagonists.
Xiao Hei and the locksmith resolutely chose to give up their lives rather than their money, but in order to save their friends, they both gave up their lives, and they didn't even care about asking for money.
Of course, they pushed their desire to rescue their comrades to the limit.
The captain pushed his desire to save his daughter to the limit, and the female team deputy pushed the desire to protect the captain to the limit. The same is true for the rest of the squad, so I won't go into details.
Well, I posthumously recognize that they are both the protagonists of the second half of the movie.
To be consistent, count the daughter and the undercover agent. Undercover is the villain, and daughter, who wants to empathize with such a character? What is empathy is to feel that the role is like yourself, who would want to be like her.
There is no protagonist in the first half, and there are many protagonists in the second half. How to compile them?
A protagonist with more than one person is either a composite protagonist or a multiple protagonist.
These people's desires are not unified, and they are not composite protagonists.
That can only be multiple protagonists, which means that each protagonist needs a story.
Most of the movie is foreshadowing, and there is only a small half left to tell, and most of the movie is an incentive event. This Incentive Event was severely overweight.
What is the motivating event, the turn of the key to start the car. The remaining time is still awarded for several stories. As a result, each story is told hastily.
It's like, the passenger has been in the car for more than an hour before the car starts, and then the driver tells everyone, we have to spread the people out and separate a few cars. If you do this, it will be difficult for the movie not to collapse.
wantonly
The third reason for the collapse, this team, what is the significance of them going this far.
As I mentioned in my previous article, the story is a cannonball, and the value is the target.
Some people also say, why does the movie have to have a central idea or something, and it is not a primary school text.
If it has no value, it is like firing a cannon without a target, and the audience can't understand it. Can this cannon be shot, and we can't see where it's going to hit, and we can't say whether it's accurate or not. Anyway, it was quite loud.
In fact, the main idea of this film is there.
The master idea is a sentence, the value change plus the reason for the change.
The value at the beginning of the movie is up, humanity has the virus under control, and hopefully it will be wiped out with a nuclear bomb. At the end, the value is decreasing. Virus escaped from quarantine.
The reason for the change is obviously the greed of the US military and the greed of unscrupulous wealthy businessmen in the island countries.
So the dominant thought is that human greed leads to disaster.
To put it bluntly, these two hours are to release the virus.
Wu
Here I have an idea, give the corpse king some more ink and make him an anti-hero. First, the corpse king has to be empathic.
This is not difficult, kill the corpse king who is out of the cage, standing on the top of the mountain, overlooking the dim lights of Las Vegas. The desire to be free is a desire that everyone has.
This is not enough. Later, the corpse king went home to listen to the fetal movement in his lover's womb and give love. This is also a desire worthy of empathy.
Moreover, the corpse king kept his word, abide by the contract, and his revenge would be avenged. It is much stronger than the pit bullies in the protagonist group.
In fact, since the title of the film is "Legion of the Living Dead", it is better to give this title to the corpse king. True to its name.
Do you think that, from another standpoint, the Corpse King is very similar to the Monkey King Caesar in "Rise of the Planet of the Apes".
The corpse king is short of a desire to follow through, which is the so-called backbone of the story.
At the end of the film, Xiao Hei found that he was bitten. At this time, the corpse king had already died. However, the consciousness of the corpse king was not inherited by the body, but by the neural network formed by the aggregation of pathogens.
Staggers are not intelligent because the pathogens are not pure enough.
Alpha has higher purity, so it has simple intelligence.
And the corpse king is the purest, the smartest, and the most powerful.
This setting is a bit like the comic adaptation of the American drama "Blood".
When the corpse king falls, the only remaining branch of the pathogen's neural network evolves into the corpse king.
land
The one who ascended the throne was naturally Xiao Hei.
After Xiao Hei took the throne, he walked out of the bathroom, went straight to several flight attendants, and grabbed the frontmost one, this young woman, who was a little older and looked a little mediocre.
The Corpse King sniffed on people's face and body, but pushed them over and sniffed again toward the youngest and most beautiful flight attendant.
The corpse king was startled by his level of satisfaction, pinched the beauty's chin, and stared affectionately into the beauty's eyes for a while.
The beauty was frightened at first, but seeing the approval in the eyes of the little black corpse king, she thought that she should smile to win the favor of the other party at this time, which might be safer.
The beauty smiled reluctantly, her expression a little stiff.
Unexpectedly, the effect exceeded expectations, and the little black corpse king was amazed by the other party's smile, and he also smiled.
The beauty thought that this method would work, and she smiled more confidently and more charmingly. She could see that the little black corpse king was fascinated by him, thinking that she was saved.
Who knows, the way the corpse king favors is to bite down according to the beauty.
Then there is the flight attendant who was just thrown aside. The camera was given to her. The picture she saw was not suitable for us to watch. First, she was frightened and screamed by the blood spurting, her hands and feet trembled, and her limbs were waving to get up, but they were as soft as noodles.
Then, the gnawing sound stopped, and the stewardess realized that she should be quieter, if she attracted the attention of this big black man, she would be out of luck.
She gradually calmed down, with fear and hope in her eyes.
As a result, the sound of tearing clothes sounded off the screen, the flight attendant's eyes changed from fear to confusion, and then to extreme consternation. The voice off the screen was indescribable.
The flight attendant understood what they were doing, and covered her mouth in shock.
Then the noise outside the picture stopped abruptly, and the flight attendant said, "Oh my god, the corpse king rushed over and tore off the flight attendant's head.
The flight attendant's perspective spun around and fell beside the girl who had just communicated with the Corpse King. In the sight of the stewardess, there was the girl's bare flat pale belly, and the feet of the corpse king.
The corpse king leaned down, his face was facing the flight attendant's field of vision, his side ears were attached to the girl's lower abdomen, and the originally dead belly bounced, faintly imperceptible. The last consciousness of the flight attendant was the satisfied smile of the Little Black Corpse King.
In this way, the corpse king's desire is clear at a glance, that is, to reproduce offspring.
Seven
Change it according to me. The whole chapter is chasing the perspective of the corpse king. It is an anti-hero movie. Even if the mercenary squad is still the main perspective, the part of the corpse king is also a short main plot, wrapped in a lot. A huge subplot, the story of everyone in the squad, so it makes sense to have a little more subplots. Anyway, the main plot is in the bag, and the task of the subplot is to make the impossible in the main plot believable.
eight
According to the way the movie is made now, this movie is not a feature film, but an incentive event for another movie.
A full-scale motivational event for an entire movie.
This is like, everyone sat in the car for two hours, the driver finally started the car, and then turned around and said to the audience, everyone can get out of the car, there are no easter eggs today, we should clean up.
nine
The comments continue to discuss whether the logic is self-consistent or not. For movies, the logical self-consistency is not important.
If you want to write a good script, don't focus on whether the script is logically self-consistent or not. If the script is well written, the phenomenon of logical self-consistency will naturally appear. Logical self-consistency is a characteristic of good films. rather than what makes a great movie.
Because the film is good, the logic is self-consistent, not because the logic is self-consistent, so the film is good.
When writing a script, from the very beginning, focus on logical self-consistency, and the creative process will fall into an infinite loop. Writers are always examining their own works, whether they are logically self-consistent or not, but in the end they cannot be logically self-consistent.
Frustration, self-loathing, and maybe giving up on creation followed.
What a writer should ask himself is, my hero, who is he, what is his desire, why does he pursue this desire, what prevents him from getting what he wants, and how the hero responds when he is hindered.
Desire, the desire of the protagonist, is the beginning of creation, but not the end of creation. Maybe halfway through your writing, you find that my protagonist doesn't want this, but that.
It doesn't matter, start over.
Why is desire so critical?
Because most of the movies in the world, I'm talking about most, not all. At the end of the day, they're talking about a protagonist living an ordinary life that may not be going his way, but it's within his control.
Suddenly, something upsets the balance of his life, and the protagonist is bent on getting his life back to normal. He believes that there is something through which life can return to normalcy. Then this thing is his desire.
Then, this movie is the process of the protagonist's pursuit of this desire. At the end of the movie, he may succeed or fail.
This is a form that is infinitely close to the archetype, but it is not the archetype, like "infinitely large" and "infinitely small". No one knows what they look like. But we can get infinitely close to their existence by calculation.
The prototype of the story is not a number and cannot be calculated. It can only be summarized, summarized and refined through generations of writers.
Being your protagonist, exploring the protagonist's desires, is your shortcut to the archetype of the story.
Luckily for us, we can sit back and take advantage of previous research. But something interesting happened.
The prototypes condensed by generations of people in order to extract the essence are mistakenly considered too simple by later generations, because they think it is simple, but they do not pay attention to it. Therefore, people put aside the essence, to study the phenomenon.
For example, spend all your energy on "whether the logic is self-consistent or not".
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