Aside from the introduction to the city where the welcome team is both a small flag and a big drum, it is too similar to "Bullet".
First, the abbot was hanged inexplicably (until now I have not figured out why the abbot was hanged), I can only understand that the director and screenwriter have the complex of "Saint Seiya" and abused the abbot as Athena;
the foreigners said, "The Shaolin Temple stole us We must take it back, we can't lose any more!" After a second, a long-range bombardment was carried out, and the treasure was bombed? How to recover the loss?
In the final climax of the film, the big wood fell, and Liu pushed Xie away, pressing him under the big wood like Fang Deng, and Xie tried to move the wood again. The scene, the eyes, and the music were like the dog of "Tangshan Earthquake" blood bridge. In the sensational music sung by the high-pitched girls, Liu slowly, lyrically, and fell on his back in the hands of the Buddha. In the next scene, Liu was changed to lie on his side in the Buddha, which made me realize that in the hands of the Buddha, even Miracles also happen to the dead. And Wu Jing, Yu Shaoqun, the old abbot and others used a lot of slow motion, music sensational and other old scenes when they died.
The biggest laugh scene in the audience came at the end. At that time, almost all the audience in the theater laughed. Jackie Chan led the people to look back at the destroyed Shaolin Temple and said, "The Shaolin Temple is in my heart!" . . .
I have to say that the writing skills of Hong Kong screenwriters are too poor. When expressing the change of people's thoughts, they can only use words such as "wake up" and "let go". These people are really obedient, and they really just "let go". . This pattern can only be seen in TVB dramas like the great lines like "To be alive is to be happy". When expressing Liu's process of "enlightening Zen", he only watched Jackie Chan's cooking and a little monk practicing martial arts in the middle of the night, but he immediately realized and became a Buddha on the spot, and the plot could not stand at all.
Both Liu and Xie acted mediocrely. I can only say that if Xie always receives such films in the future, the little light he saw vaguely in "The Informant" will soon be extinguished.
There are four places in the film that I think are not bad, they are in order:
1. When Xie conspiring to host a banquet, Fan Bingbing performed a very tense act in order to protect his daughter and slashed with an axe. 2. The horse-drawn carriage galloping
to chase and kill a piece is more innovative, but unfortunately the way of expressing it is still slightly less;
3. When Jackie Chan asked Liu's daughter whether it was buried or cremated, Liu's performance was good (although some imitated Liu Ruoying in "Nothing in the World" Traces of eating roast duck at the end of Thief)
4. Wu Jing's performance is still good, Yu Shaoqun is also good, but his temperament is partial
. For ordinary films, the level is slightly higher than that of "The City is on Alert". According to Director Chen's "New Story" and "Street of Stormtrooper Rage", the difference is far, far away! ! ! ! ! ! !
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