I have watched more than a thousand movies, and I have seen a lot of novels. I am ignorant of movie production itself, so please allow me to use the idea of identifying novels to explore movies.
The background of props and costumes and film factors such as sound, light and shadow are beyond the scope of my discussion. The following points are my basic criteria for examining the pros and cons of a movie:
A Subject
B structure
C grasp of the degree of time
D Actor's Interpretation Ability
E The integration of the script and the theme, and the artistry of the script itself
Take my personal ranking first, the German film "Free Will" as an example: the theme is whether people are free; I believe that the structure of the story is quite tolerable and belongs to the category of unforgettable follow-up; the degree of time is the plot of the story or the plot of dialogue. Whether the rhythm of running in time meets the needs of human psychology, you have to know that some things are smelly and long, which makes it annoying; DE points in this film are full marks in my heart.
It is necessary to talk about the subject alone. According to my life experience, the themes of movies seem to be the same as novels and life. The specific identification standards are as follows:
First class: the person himself and the relationship between the person and the world, that is, the pure soul part, or the person's knowledge of his own rationality and beliefs beyond rationality.
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Last class: adult melee movies, that is, purely physical narrative
The ellipsis in the middle is not easy to sort. The main logic should be that the closer to the human consciousness, the better, and the closer to the body, the lower. By the way, I would like to add that Kielovsky’s movies, early European films and the recent "Train of Despair" I watched are all top themes.
Among the themes of honor, promise, love, family, betrayal, murder, massacre, and torture, I prefer "promises"-the fulfillment of an agreement always shows the glory of humanity.
In addition, I have to talk about why movies on the subject of "violence" make me so entangled. Taking the lives of others can give a person a super-moral experience, and the torture in the process is like the joy of experiencing the touch between the skin before the explosion. I'm sure Mel Gibson is a heavy mouth enthusiast.
Regarding some special factors, there is always a type of violence in "Under Six Feet", "Breaking Bad" David Lynch and the Coen brothers, and the recent "Escape from the Concrete": He was chased by wicked people on the highway under Six Feet Killing, the near-death experience of catching flies in the lab in the poison master, the big guy being trapped in "Pulp Fiction" and so on. The genre seems to be the pioneers of Europeans. In serious moments, it uses seemingly solemn dialogues or plots that are actually jokes to make audiences remember. It's like the closing of a door left by a comedian, it is an end, and because of the comedy element, it is endless aftertaste.
There are also some crime-type action movies that win with structure and time, such as "Death of the Dead", "Dance", "The Bourne" series, "The Man on the Windowsill" and so on. In addition to good-looking, there is nothing else. Who can save the world heads-up?
Let me take "Escape from the Concrete" as an example to make an evaluation. Structurally speaking, I suspect that the film is like "Below Six Feet". When the screenwriter starts and ends, the screenwriter doesn't know what it is, so I follow the situation. Look. Therefore, the film does not have a consistent spirit, they are a mashup of many plots. Moreover, the mashup of this kind of plot is not based on the development logic of the story itself, but often the motivation is to make the audience refreshing and unexpected.
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