The direction of the story is not so much a martial arts plot, but a more simple underworld story. The underworld characters put down their butcher knives and stay away from the past, but the underworld boss refused to agree and insisted on bringing him back. There is a question here, at least I don't quite understand it. The people of the Seventy-two Earthshades are fighting against Tang Long, do they want him to live or to die? Or do you want to pull him back and execute him again? All of them were killing moves, but when they saw Tang Long who was "feigning death", they cried again. The Boss was chasing Tang Long almost abnormally. Or the death position is not clear. The appearance of the big boss seems to be a tribute to Wang Yu and the concept of "scientific martial arts" for the director to be martyred.
[Wu Xia] is really not a title for this film, and I can't think of a better name. I just think it can be called [Wu Xia] after [If Love], because the film is split into two parts, then the split Talking about "wu" and "xia" can also narrow the overall scope, so that everyone does not think that this topic is too big and inappropriate. With Donnie Yen, there must be "wu". The impression of him has always been that of hard bridges, hard horses, and violent spirits. The fast-fighting action design that combines some fighting is very exciting, but it will make the viewers over time. Fatigue, the success of [Ip Man] is because Donnie Yen has restrained his anger, and the second is that he fights to serve the plot. Some action scenes in [Martial Arts] are purely for fighting, such as the meaningless parkour. Tang Long is evil, but Liu Jinxi, who is ten years later, will not be able to be a hero.
There are too few elements of "Xia". If I attribute this word to the strange detective created by Takeshi Kaneshiro, it would be a little inappropriate. The weight of the entire film "Scientific Martial Arts" and "Microscopic Martial Arts" rests on Xu Baijiu. Because human beings can no longer stop the progress of the big boss, they can only use the power of nature to use scientific methods to kill him and kill him! The context, acupuncture points, and autopsy involved in the film are all briefly mentioned, and more of it is the humanistic care that Chen Kexin is best at, because Xu Baijiu chose to avoid sympathy and love in his past, and at the same time brought out the following plots, as in the case of Xu Baijiu. Liu Jinxi (Tang Long) said after falling into the water that everyone is "guilty" when one person has an accident. There is a cycle between people, and one link affects the other. It sounds crooked, but there is some truth to it.
With this character set for Xu Baijiu, it's hard not to let Takeshi Kaneshiro shine, because compared to Donnie Yen's steadfastness and the limitation of Tang Wei's role, Takeshi Kaneshiro can lock the audience's attention most of the time. The strange one is the most interesting and liked. Besides, he also has an eye-catching setting such as schizophrenia. The part where he blamed himself "who said he can't cut it" is very interesting. Takeshi Kaneshiro thought of using the Sichuan dialect as a good idea. The strange smell is upgraded, but it is not so standard, and everyone will not force him to be a person who is not even good at Mandarin.
Just like Jin Peida's musical style is more suitable for the atmosphere of Chen Kexin's movies, Dou Wei's singing voice of rock style accompanied by green mountains and rivers appeared at the end of the film. Blessed. The literati Chen Kexin always shoots action movies, not martial arts movies. There are very few directors with martial arts feelings now, and they can't return to the former Tsui Hark. Li Rengang has no feelings. Maybe after the 1960s and 1970s, Hu Jinquan and Zhang Che are no longer there.
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