The tenderness of the tough man is emphasized by the docile wife who is sickly.
Most of the audience are too chasing after Peking Brother's natural and domineering acting skills,
expounding the connotation of a movie as superficial as they themselves.
When watching too many special effects and exaggerated plots, the
audience admires the kind of violence that seems to be the quickest and most mundane.
Just imagine if those gangsters weren't a one-punch soft-footed prawn.
If that wife is a chattering, long-winded resentful woman.
Then the violent aesthetics of Big Brother Beida is useless.
Ye Wen's shots are good-looking.
The premise that he must fight ten one by one is that the opponent is weak enough.
But the movie also reflects that the character played by Takeshi Kitano was cornered by these tricks.
Struggling silently? An indictment of society?
Sorry,
can't see the characters struggling with choices.
No spark of thought can be seen.
There is only formal, violent beauty like prose poetry.
As for the utilization of the tricks, Mr. Stephen Chow's films are better than Takeshi Kitano's
because these elements are not used to make prose poems, but are used as jokes.
After laughing, there is still room for thinking and Laobei
's things. After reading it, I only remember Hisaishi's music that yearns for the sea and the sky,
and the unique skill of pig's feet that can accurately blind the enemy's eyes.
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