This ending is enough to find, but it also seems to be the most complete.
The film is a bit winding, and I feel that the director is a little swaying.
Three basic points: 1. How to heal a traumatized woman in an indifferent and alienated city; 2. A just violent solution; 3. A thriller story with some ambiguous feelings. I still haven't figured out which one the movie is centered on. If it's all three, it would be too much of an appetite. .
It starts off well, until Officer Mercer inexplicably wanders off to visit JF. Until here, I think it was the first way to go: the monologue of the city recorder on the radio, the affectionate lover, the lingering memories after being admitted to the hospital, and the constant attempts to walk out of the house and passers-by are like birds of fear. , the situation in the police station. . It's all hands-on and skillful (the plot is indeed a bit old), and oh, there's a friend character who's disconnected (a sticky side character). Coupled with JF's acting skills, it may be possible to complete the ambiguous expression of the whispered whispers of the city of NY that Spike Lee failed to complete in 25 hours.
But it wasn't enough. Now that the material was all there, the director just followed his feeling and left. Setting up JF's program to answer incoming calls is really a plot. Extensive discussion of justice and non-legal violence through the mouths of callers is too obvious and too clumsy. Mercer's righteous "I can" statement ended up being completely meaningless. In short, I feel that nothing has been discussed. The creators came out and shouted a few words. The formalized cutscenes generally want to improve the depth of the film's thinking, which is too ambitious.
Third, if I want to talk about this somewhat ambiguous horror story, I still buy it. I suddenly liked Howard as an actor (hehe, after watching Ironman), but I can't help it, these two male and female protagonists just don't match up. It's like French red wine partnering boiled fish. The ambiguous meaning is always polished when the two play against each other. One spark, and then it went out of tune like a damped gramophone, making me want to laugh again as soon as I felt it. However, several rival scenes were generally qualified, especially the part where the mirrors in the bar looked at each other. The creativity was good. It was not their fault that they missed the best chance of becoming a classic because they really didn't have chemistry. The whole thing is not particularly nauseous (the last shot is a bit sensational), which is what I am more satisfied with.
In the end, because of the handling of this ending, I had to finish it hastily, so I can only choose one of the above three basic points. The director chose to go back to the first way, which is actually wise. In the end, it was a tragedy with a happy ending, because Erica couldn't go back to where she was. Psychological trauma, emptiness, and loss dominated by violent pleasures cannot be filled; if we can re-understand and accept this new self, it may be just a few more nightmares and confessions in the years to come, but if not, only It will get deeper and deeper, and the original goal of violence has been achieved, but after the pleasure and the only way to vent the pain have been lost, what will people do?
It's better than I thought, because of the horror story, I thought it was just the first basic point. But women's colors are not as thick as imagined. JF's play is not enjoyable enough, and it is restricted by the blindness and crowding of the script. anyway, can recommend to anyone.
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