One is a large-scale one, which uses an omniscient perspective to jump between different regions, and
uses the global and national scales to measure the destructive power of disasters.
This type, I think Roland Although the overall plot of Emmerich’s 2012 is unpretentious,
it has reached its peak visually. It can be like a disaster slideshow
,
showing one after another in Yellowstone Park, Washington, Las Vegas, Rio de Janeiro, Vatican, and Tibet. Destroy the big show.
Although this form of different exhibition areas can satisfy the audience's multiple wishes at once,
they always feel that the meaning of "show" is too strong, and the
characters' sense of escape and the authenticity of the disaster are sacrificed.
The other is to focus on disasters that occur at a single point. There
may be no way to span as large as the former in time and space,
but usually the sense of reality is strong. The
fear is compressed in a short period of time, and the concentration naturally increases.
Before Naomi Watts's The Impossible (Taiwan translation of the miracle of catastrophe) can represent that the
real tsunami scene in the whole drama is only about fifteen to twenty minutes,
but the person is like a sundries, soaking in the turbid yellow water to roll over. Really shocked.
In this single-point type of disaster film, the
"person" is not just a part of the CG action in the disaster special effects,
but has a real sense of pain.
I prefer the latter kind of disaster film.
Into the Storm adopts a documentary-like approach, making
it biased towards the latter. There is no way to adopt too many omniscient perspectives.
Rather, it is intentional to let the audience not see the full picture of the storm, and
experience
the feeling of being thrown into the air in the next second without knowing what happened .
So it is really quite wonderful that titles,
a group of students at the mouth of the gun hit the car in half, in front of the dark road suddenly fire Zhaxian,
wire break, get off even in the end what is still not clear to see,
on the whole both man The car was swept up in the air, and the next news said they were all dead.
But sometimes when watching a disaster movie,
I’m not afraid of how big or small the form is. It’s a bit paradoxical. I think the quality of a disaster movie
depends on the “non-disaster” links in it,
that is, when there is nothing on the screen. When entertaining the audience with dazzling special effects, does
this movie still play its role: storytelling.
After watching too many disaster movies, um, it’s pretty cool,
what is the story, uh, forgot.
For some reason, most of the directors of disaster films have an easy-going mentality.
Anyway, the audience just wants to see the special effects, so
I will show it to you, and the animator will give me the best and hard work!
The script is just... well, playing the safety card,
just use the family separation and small reunion, the family relationship is reconciled this set,
although it is boring and old-fashioned, at least the correct value of the three views is desirable, but the balance is not lost.
Unfortunately, Into the Storm is still playing this safe deck.
The family relationship between father and son resolves all crises.
After the disaster, everyone understands the importance of living in the moment, etc.
All are clichés, no breakthroughs.
The self-recorded last words in the middle and the ending crew members have the feeling that they are in Déjà vu.
Very stable, very correct, and in the end also very satisfactory, but it is also very boring.
(However, the previous daily life clips were recorded while spitting;
and the clips that satirize the boring Youtube lunatics were surprisingly funny)
But I really like its performance method,
although handheld video recording is not a trendy way,
but it is used in In the disaster film, there is a sense of immersion and tension. The
debris is scattered in the air, flying at high speed, and
all kinds of heavy objects are cold and cold. Fortunately, the
tide of fire tornadoes,
as the protagonist group shuttles through the town, it is like sitting in the sky. The same as a speed car.
The stimulus of Into the Storm at least reached the point of letting people ignore the plot and boring pee.
After watching it, I want to look at the sound effects and the screen, and play it again.
Maybe there is nothing profound about this film,
just like the end of the film. The big storm dissipated at once, and the collection was rushed. The
whole film may only leave a momentary impression in the head,
but the stimulating process of the whole film at least temporarily pulls people away, like being rolled up into the clouds,
and then watched. At the moment when the setting sun and the sky were clarified,
although I still had to fall back into the daily life in the end, at least that moment of quiet and empty was quite worthwhile.
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