Unexpectedly, there will be terrifying types. Although his story has long been guessed from the trailer, the horror and bloody place still surprised me a bit (from the beginning of "Kung Fu", we can see the clue). In particular, the fierce images of Monkey King, Bajie, and Sha Seng get rid of all the previous comedy images. This is what surprised me the most. Ah Zheng (that is, Sha Seng) is funny, but no one in the mainland knows him, and maybe no one remembers that he is the teacher of "Changjiang No. 7". The funniest thing about Ah Zheng was that he was forced to be completely naked without telling him a single line of dialogue. What's funny is not the content of the drama, but how Stephen Chow plays the small roles. Although Bajie doesn't know him, he can see that the reason for this reinterpretation of Bajie is not bad. Goku's explosion is also quite interesting. In the end, it is too ignorant to become King Kong. Xuanzang's process of learning to love big and little love came too easily.
Of course it's not funny anymore. Empty son is a little bit too cheap. Other characters, such as the stump of the sky, Miss Duan who has no fixed flying ring, the tiger-shaped boxer, and Zhao Zhiling, will inevitably make people unfamiliar. Because these are relatively early Cantonese martial arts film elements and kung fu films. Sun Biling, the indeterminate flying ring, is the mortal enemy of the evil spirit of fire in "Tathagata's Palm", and also uses the flying ring as a weapon.
In addition, the story is the same, women chase men, they really want a simple home, and they can have a baby or something. In fact, such a conservative consciousness pervades all the martial arts films that are currently co-produced. Another thing is that people are inherently good at the beginning, or the nonsense of big love and little love, from Zhou Xingchi's "Kung Fu" to "Journey to the West: Conquering the Demons" is both abstract and meaningless. To tell the truth, these big and small loves have long been exhausted, from Liu Zhenwei's "Journey to the West" to "The Great Sage of Love", and then to "Yueguang Treasure Box". Some people will deliberately compare this one with more talk about Journey to the West. I don't think it's necessary to worry too much, after all, Zhou Xingchi's position is different. Instead, Xuanzang said, "I have loved you for a thousand years, but ten thousand years." Then Ms. Duan said, "Ten thousand years is too long, and it's just a matter of time." I felt that it was too deliberate to respond to "Journey to the West", so it would be better to change other views on love. In fact, apart from big love and little love, or time, isn't there any other concept of love? For example, in "Journey to the West" about Fairy Qingxia getting on the body of Pig Bajie, it's okay to talk about external beauty. Or spatial, spiritual, or even class, etc.
In fact, if you insist on comparing it with the big story Journey to the West, it will definitely be a failure. First, the previous work has become a classic. Second, there are two episodes of Journey to the West. Of course, the description will be a little more delicate. Third, Stephen Chow is no longer the Stephen Chow he used to be. Do you still think that he makes money with movies? Do you think he is still the same Zhou Xingchi who used to laugh with you? Of course not. This movie just copied himself into multiple Stephen Chow. So the film does not have his performance, but he consciously copied himself, mixing different types of films and Hong Kong local film elements. It's interesting how he imagines the place of these things in traditional stories ("Journey to the West" or "Journey to the West"), including how the local martial arts films show it, that is, how Wuding Feihuan became Wukong's diamond ring, How the stump foot was broken by Sun Wukong, and how to copy himself (every actor has no characteristics, but they all become Zhou Xingchi's style performers) to form a co-production film.
Co-productions may be a form of Hong Kong becoming a subject (or standardization), but at the same time it is also a kind of struggle for the subject in Hong Kong. This film may be Stephen Chow's casting on different mainland actors, but it does not necessarily represent the victory of Hong Kong's subjectivity. On the contrary, Stephen Chow himself is no longer a representative of local culture. He is more likely to represent the result of a conspiracy between the two places. It's hard to see Zhou Xingchi say something like "Congratulations to your old bean" or "I, Sun Wukong, just wave my hand and let you burn it, I'm not afraid of laughing" when he was burned.
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