Cinematographer Linus Sandgren impressed us with the range of motion and large handheld and telescopic lenses in American Hustle. This very distinctive lens language has been excellently continued in "Joy". The romance and madness in the previous work have become surreal and absurd here. The lens is constantly in Joey's dreams, fantasy, reality and The mesmerizing cruising between memories, the excellent combination of colors and lighting deepens the meaning of the play within the play, and better creates every character in the film.
However, the excellent camera language cannot hide a major shortcoming of the film: the editing of "Joy" is disorganized and unorganized, and some places are even staggeringly rude, which also magnifies the biggest flaw of the film. The problem, that is the narrative.
The unruly David O. Russell once said, "I hate the plot, and what I value most is the character description." Perhaps it is this stubbornness that makes him consciously or unintentionally dismissive of the narrative, in "Joe" It even seems a little irresponsible in Yi, the conflict and the climax either come too early or too late. In short, the things that held the audience so tightly in "The Line of Happiness" and "American Hustle" are gone.
While David O. Russell has repeatedly emphasized the importance of innocence and talent in achieving the "American Dream," "Joy" is clearly feminist (I think twice, but never use another word). A comedic, American interpretation. Broken families and lack of love are its slightly limiting footnotes in the film, but yet another impressive performance by Jennifer Lawrence is her way of shaping this reality-fulfilling dream. successful women.
However, from the perspective of the whole movie, I can't tell you objectively and impartially whether "Joy" is a good movie, even if it still has charming shots and romantic lighting, and the music is as good as the previous works. Taste, but I still worry that David O. Russell's inadequacies in narrative and structure may gradually become an unbreakable bottleneck of a mixture of paranoia and conceit. Known for his ability to train actors, he has sent many actors to the Oscar podium, but his films always fail to win important awards, which may already explain a certain problem.
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