The American movie "King of K-Songs" has nothing to do with karaoke competitions, and it has nothing to do with Eason Chan who sang "King of K-Songs". The translation of the title of the film is naturally a bit misleading, but with a Chinese song title that was very popular at the time, it can arouse the interest of many young people to watch the film, because when it comes to Eason Chan, a powerful singer in the Hong Kong music scene, there are several people. Don't like the heartwarming love songs he sings? The deviation of the title is of course intentional for the consideration of the box office. I chose this movie in the menu bar of the home theater because of this inaccurate and very eye-catching name. A typical American light comedy, with a song as the main line strung together a romantic romance. The song is called "the way back to love", and it is the hero Fletcher, an out-of-date pop star who was invited by Xiao Tianhou to compose the music in just one week. The lyrics are somewhat magical. The hourly worker Suzy finished. Fletcher stumbled upon Susie's talent for composing words and sentences in Susie's inadvertent humming, and decisively resigned his queen lyricist, asking Susie to write lyrics for his new song. With the encouragement and invitation of Fletcher, Susie, a high-spirited and literary graduate, began to fill in the words seriously. In order to complete the composition of the song before the time agreed by Xiao Tianhou, the two were racking their brains day and night to conceive the content of the lyrics. The two stimulated each other's ideas in the way of life and found the source of inspiration for the lyrics. Suzy, who was falsely belittled by the author's ex-boyfriend in the book, hates and fears her ex-boyfriend, and gets nervous when she sees her ex-boyfriend. Under Fletcher's optimistic guidance, Susie overcame her inner anxiety and anxiety, and she found the way of love again, and fell in love with Fletcher very logically. And the song written by the two of them tacitly was also recognized by Xiao Tianhou' and was warmly welcomed in the concert. The film was a joyous one, not only did the success of the song give Fletcher, whose career was stagnant, a turnaround in his work, but also brought these two talented singles together. Little Tianhou's exaggerated and enchanting dance poses sway in the psychedelic and bizarre Indian music, singing a blatantly vulgar and extravagant voice. Isn't this a shallow and clumsy deconstruction and spoof of Buddhism? It really subverts the three officials. Of course, the audience with judgment knows that Buddhism is not worshiping false idols, nor is it a weak placebo. The style of the film is lighthearted and humorous, funny and funny, and the story ends well. Hugh Grant's standard and elegant London voice is clear and bright, his clear and magnetic voice is not inferior to that of many Uranus superstars, and the bright and dynamic melody of European and American pop music in the 1980s is the place worth nostalgic for the film.
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