This is a pure action movie. When it comes to "fighting", Donnie Yen and Zou Zhaolong were both born into martial arts, so there is no need to doubt the authenticity of the fight. Zheng No. 1 uses MMA (mixed martial arts), and the throwing skills appear frequently - a sudden step forward during the battle with Ahu is particularly exciting, and the twisting skills - the entanglement and restraint, grappling, and judo during the down-to-the-ground battle with Tony , wrestling, and boxing are intertwined; and the usual sweeping legs and elbow splits are the signature moves of Muay Thai. So, in addition to being real, there is something new in motion design.
But I still felt that the film wasn't good enough, maybe it was using too much close-up—it was close to being a close-up. For example, at the beginning of the decisive battle, you come and go in the chaotic fists, and often shoot the defender at close range. The attacker only has his upper arm quickly inserted into the picture, while the change of the environment, venue, props and the connection of actions are ignored, and the rhythm is ignored. There is a certain degree of fault, and the gorgeousness of the scene and the smoothness of the visual are also discounted.
Let’s talk about some humane shots: Guzai’s room is messy, instant noodles are eaten under the slow fan, and the undercover life is lonely and lonely, but this part is set up for the introduction of the female number one – it can be simplified; at the end of the decisive battle, Mrs. Xian Brother's 80-year-old mother came to look for her son again, and No. 1 was thoughtful, but No. 1 felt a lot - nothing at all.
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