The most intuitive feeling after watching it is that the Zhou style of the film is not as strong as the previous "Shaolin Soccer" and "Kung Fu". Xingye's usual routine of small characters accumulating power and finally counterattacking is not so extreme this time, and it also loses the super refreshing feeling of the previous ending. The presence of co-director Guo Zijian also makes the style of the film more divisive.
One of the screenwriters is where is now, but unfortunately the movie is a bit worse than the "Wukong Biography" of that year. The declaration of "Ten thousand years is too long to fight for the day and night" is not as good as "I want that day where I can no longer cover my eyes; I want that place where I can no longer bury my heart; I want all sentient beings to understand my will; Disappearing" shocking.
The story has three large paragraphs, and fights three monsters. Fish demons, pig demons, and monkey demons are indeed becoming less exciting. At the beginning, there is the shadow of Bong Joon-ho's "Monster of the Han River". In terms of creating an atmosphere, it is true that the water monster is much more exciting than the monsters on the road. The rhythm of the whole opening is relaxed and moderate, killing, saving, killing, saving, killing, saving. The climax does not stop, the laughter is dense, and it is worthy of being a star. The end of the first paragraph alone is worth the ticket price.
At the beginning, when the Taoist priest played by Feng Mianheng appeared, I burst out laughing. Speaking of Feng Mianheng, in my heart, he is the cold-faced joker second only to Mr. Liu Yida. In fact, he is a screenwriter of Xingye Company, and he often appears in the funny tricks of gentle scum. Talk about two classic images: Liu Piaopiao's ex-boyfriend in "The King of Comedy", and the friendly car mechanic in "Shaolin Football".
Compared with the first stage, the second stage of Gaojiazhuang is much worse. Malishan's face is really a real show of Meitu Xiuxiu's movie version, and she has gained so much fat. Zhou Xiuna's Mandarin is really a drama when it comes out. of charm. The highlight was the first time I heard in a movie theater that an actor could shout "silly*" twice. The children around were still laughing so happily. The children can't learn badly. It's really worrying for the president of the radio and television industry.
In the third paragraph, Huang Bo's monkey demon shape is too damn like a fire cloud evil spirit, and the stunt in the last paragraph is indeed quite obvious. I hope it is not that Xing Ye knew it. When Shu Qi danced, I was quite moved when I remembered "The Love of My Life". It's a pity that it's a mandarin and a special female version, which is really dozens of streets behind Lu Guanting. In an instant, the drama came out. Thinking of Zhu Yin's tears, watching Shu Qi's dance, life is geometric, youth has passed away, and face is easy to grow old. Youth, which looks so long, can change direction in an instant. The best time has passed. It is difficult for Xing Ye to return to "Domestic Lingling Paint", and Shu Qi will not be able to return to "Red Light District". Just like the "Heavenly Stupid Foot" in the film pays tribute to the old Shaw Brothers "Tathagata's Palm", the once "S*B produced must be a boutique" is now only the memory of old Hong Kong film fans. It 's like the forced brother sings:
This time you left without saying goodbye like before, goodbye is just goodbye.
- "Summer on Shanyin Road".
The final score, three and a half stars, no more. I wish you all a happy Spring Festival and stay youthful.
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