After reading a few film reviews about Mary Sue's placement in advertisements, I couldn't help but say a few words. In fact, this kind of film with no literary and artistic ambitions is just a gimmick, and what it earns is eyeballs. It is probably no exaggeration to say that the plot of Bai Lai is the culmination of a vulgar idol drama. The development of the emotional line is conveniently combined with various iconic sensational bridges. As a safe living target, anyone who spit on it is considered entertainment. The second round of value recycling is environmentally friendly and economical.
A scholar often told me that there is no harm without comparison. What I want to say more is that compared with the unspoken rules of the big screen of the US emperor, the progress of this Valentine's Day small fresh film is reasonable and reasonable.
Progress first. Every time the imported films are cut in China, some people call for the film classification system. Entering the unsuitable level for children, children are blocked from the door, and violent pornography is relaxed to a considerable extent. This logic makes sense, but not necessarily. The American Empire's film rating is not from a government department, but a private and mysterious organization authorized by the government. For its specific origins, please refer to the documentary "This Film is not yet rated", which reveals that the films released by the US imperialists condoned violence against women, and strictly controlled the pleasure of women, on the grounds of "protecting teenagers". If you think about it carefully, it is true that some of the ticket stubs that I have kept in the past six years have also saved a large cookie box. Whether it is a literary film or a commercial film that I go to the cinema, there are many scenes that show the male protagonist's facial distortion, masturbation, violence, strong sex, or sweating profusely. Delicately conquer the pleasure, and the pleasure of the heroine is often model and pass by. Over time, the hedonistic faces of women on the big screen have become so unfamiliar. When the Korean erotic blockbuster "Miss" was released, it was rare to see the pleasure of a woman sweating on the big screen. The audience in the back row of Mexican-Americans and black aunts giggled like a little girl in a physiological hygiene class. This is like a striptease. When the male "Magic Mike" was released, the laughter and laughter of the female audience were different (don't get me wrong, except for the row of throbbing and excited aunts in "Miss", they were all Asian faces, no white female paper, no know if they won't come or if I just happened to not meet them).
Going back to Fifty Shades of Darkness, in the few lines, the heroine has been making demands, leading her pleasure in the way she wants. The male protagonist's face is relatively close-up, while the female protagonist's face is very close-up. The main creators do not necessarily do this for the sake of progress, it is likely that the target customers are mainly women. However, "Hunting God: Winter's War" originally played the card of the sister war, but it was afraid that there would be too many female dramas and it would become a hammer brother throughout. Those who tear up the B drama are disappointed, and those who hope to see Brother Hammer are also disappointed, and both sides are not flattering. In contrast, Fifty Shades of Darkness is much more magnanimous. Valentine's Day creates a spring dream for the majority of female audiences, and shows the climax of spring dreams for the close-up of the feet.
More reasonable. The heroines in idol dramas are often silly and sweet, and when they meet Prince Charming, they immediately forget that they have transformed into the Virgin and are infinitely tolerant. And the heroine of Fifty Shades of Black has maintained the character of a female college student from beginning to end. Why did Prince Charming look at her and didn't discuss too much, as if to say "it's already on the stage, what's the source". Taking it as an established fact, starting directly from the reaction of the heroine, in the first part, she would complain that the hero is fickle, push it out and catch it, and then fight for the right of normal women to get close to her boyfriend. The male protagonist Prince Dugu's reaction was very indiscriminate (I don't know if it was the director's intention, but this time the lines were extraordinarily few), but the female protagonist never laughed, and was very dedicated to restore a young man with a normal educational background and normal judgment. The female paper should be throbbing, excited, cooperative and non-cooperative. She neither opened her arms and tried to aggrieve herself and tried to be all-encompassing, nor did she have a face of determination to save the male lead no matter what, she turned her head and left when it was time to let go (first). Aside from the authenticity of the character of the male protagonist, he was originally a foil for a spring dream, just like the male doll in the Barbie doll can only be regarded as an accessory), the male protagonist has to show enough sincerity every time before she turns around, which is better than the Virgin Mary. The sentimental idol drama male protagonist Gougou Pinky and the female protagonist can't wait to rush back to eat more fireworks.
Movies are real and unreal. They are not blindly imitating real life, nor do they mix and match in the name of virtuality. This Valentine's Day Spring Dream blockbuster is dedicated to creating a young woman who has read books and maintains a healthy passion. It virtualizes the life after winning the lottery, and optimistically expresses its positive changes, and points to the possible small obstacles, which are often repeated. Promoting it quickly with a new climax is really a model of entertainment and freshness. If you are inspired to go home and try a trick and a half, it is worth the ticket price and is recommended.
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