The 13th #法罗岛电影节# will bring you "Zodiac" on the 2nd screening day of the main competition unit. Below, we will bring you the evaluation of the murderers on the front line covered by the fog who are struggling to seek the truth!
Supremacyacron:
Not David Fincher at all.
Fruit trees:
A must-see for serial killers.
Jeremy Sun:
The song is high and few, the tricks are difficult, the good films are not known, the bad ones are known in the world.
The song is wrong:
The notoriously unsettled cases usually turn into the obsession of the investigator in the end.
Little Love Songs of Paris:
David Fincher uses a very realistic narrative that weakens the tension of the drama and weakens the sense of suspense.
Jeff Jiang:
The mist is shrouded and full of unknowns, but the hidden suspense can't keep me focused for 160 minutes. Obviously, the male protagonist is much more interested in puzzles than me.
We Min Hee:
After watching for half an hour, I knew that only the last half hour of the remaining two hours was the key. This kind of headless public case finally became a kind of obsession in the minds of investigators.
George:
The shooting method is to try to lose the burden and to shape the characters, but I feel that the gain is not worth the loss, and I am stuck in the middle, but when the same idea develops into the social network, the characters will come out.
Bat Bats:
Fast editing during conversation + fast switching between cameras. Even in slow-paced movies, David Fincher has to be a dazzling maniac. There should be no other director in the world who can use the camera to show better than him. The core of the story.
Feifei:
In the anti-type process, the trivial process and the stagnation that cannot progress are displayed in detail, seemingly idle but practical. A seemingly ambiguous ambiguity is interspersed among the personnel involved in the case, putting the truth behind and putting personnel first.
Outisss:
I didn’t expect that David Fincher would make a movie with a completely different style from the previous one. Fincher’s control is great and the images are calm and restrained, but the whole movie makes me feel a little dull and I can’t help feeling it. I've been on the phone a few times...
Matsuno empty pine:
Tucao first, the first group was killed and the infant group really deserved it, dull as a pig. The whole movie is too redundant, you can delete some content, the whole movie looks exhausted, obviously the rhythm is not as tight as the social network, but the brain is tired after watching it.
Mozart Lensu:
The epic of justice in the contemporary society under the rule of law. For David Fincher, it is indeed a different kind of suspense film, but you can still see the dark waves under the calm water. The truth is sinking into the bottom of the sea again and again when it is about to surface. Ordinary people insist on justice and become heroes.
Full of Zhao+:
The overall look and feel is very similar to a "Girl with Dragon Tattoo" without so many ups and downs. After watching it for an hour, I probably know that the criminal will not be brought to justice in the end, but the whole is still good-looking. Part of the passage creates a sense of suspense, but the overall focus is more on the three people’s exploration of the case and the influence of external factors. The wonderful suspense seems a bit fragmented. I still don't like it that much.
O. Yin:
The seventh part of David Fincher, the real serial killer case is different from the "Seven Deadly Sins" with a strong sense of drama and design. The slightly boring plot makes people confused, but also makes people pay more attention to the case itself and the investigation. Characters. The Zodiac is not so Finch, but it often reflects the director's consistent skills in the details; the rhythm of the Zodiac is not very bright, but the aftertaste of the twelve is not embellished. After watching this film, I was just like the people who were obsessed with the truth who collapsed during the investigation, dizzy and just want to lower it.
RIVER:
It is still from the case itself to portray people. To some extent, the male protagonist’s obsession with catching the murderer is more of an inevitable choice due to his incomprehension to the environment. The previous constantly exaggerated his insignificance in the newspaper, and deliberately omitted it. The description of his family portrait includes placing him as an outsider for nearly two hours, and using Downey’s character as a smoke bomb, and in the end, in all the forgotten and abandoned When the secret gradually revealed the truth in his hands, he truly changed from a character to a living person with a place in the subtitles, which is a proof of the persistence of self-existence that ordinary people cannot understand.
Pincent:
A crime suspense film comparable to "Memories of Murder", the judging of this type of film obviously should not only focus on the case and the guessing itself, but also on how to construct a case labyrinth composed of facts and doubts, and how to make San Francisco watch it. It is always shrouded in fog (a distant aerial shot completely synchronized with the trajectory of the car was used in the first half an hour to show the distance between what we see and what we know). The movie is like a court detective drama, which is outside of daily life. The scenes are basically focused on the police investigation notebook and the media news editing room. The facts of the case are "written". Finch too knows how to keep the rhythm between tracking and being tracked in a long timeline. A sense of feeling and a moderate sense of tension, using vivid character details to make the audience care about the main character, and remember the passerby characters (such as the front desk uncle) who lived in the cutscene. The film is like conducting a psychoanalysis and constructing a dream. As a role research, it is a metaphor for the film creator's paranoid obsession with shooting inspiration, shooting materials, and shooting subjects.
Bob_Chow:
The system is huge, spanning several decades, and the narrative and camera styles are also changed as needed. The peeping and spectacle crimes at the beginning will turn into a cross and multi-line parallelism in the mid-term, and finally the stacking will continue to advance, from a pure look and feel. In fact, it is from the climax to the gentle, the latter half is more about obeying the tasks that must be completed due to the adaptation of real events, there are beginnings and ends. It is exciting enough, but I still want to see more broad contexts, such as depictions of the characteristics of the times, landforms, and history. The dark scene in the middle with the news narrative is very exciting, if it can be more in the film, it will be more interesting. The portrayal of cartoonists and policemen still cannot get rid of the traditional contradiction of "career-family". Using too much pen and ink here is a little waste. The color is saturated and warm, without losing weight. In the first half, there were too many images that focused on pen and ink, which caused an imbalance in the second half of focusing on the police officer to solve the case. The cartoonist and the original editor gradually disappeared, and finally appeared again. Enlarging the ciphertext under the lens, newspapers, broadcasts, watches in advertisements, symbols at the beginning of the film, reflections on its own media in the sense of multi-communication are interesting, but not deep enough.
No one at midnight:
It's not as cool and fancy as the other David Fincher works I've seen, but it's unusually calm. Generally, the shooting method of this kind of serial murders is either driven by the plot, writing the main case as thrilling, climaxing, and suspenseful; or driven by the characters, it can be divided into two ways, showing the criminals’ complex psychological motives. One kind is another kind of magnifying the process in which the murderer is alienated in decades of powerlessness. The film actually has a sense of flirting in the above three levels, but the final output is actually a kind of ambiguous social atmosphere, which is depressive, turbulent, realistic and hallucinogenic. This kind of sociality is not an attack on the system or an attack on the system. Every murder process and every corpse is a profile. The police, reporters, painters, behind the scenes, the sun, the moon, the stars, and the zodiac cycle. , That can be the tip of the iceberg in the United States, or it can be the pain of no difference between anyone’s daily life and destruction. The truth is captured with all my strength and let go, and the lives that have been consumed for this will never usher in new results.
Bwheat19920313:
For us who live in a society that can be called "calm", it is actually hard to imagine that something that can be called "horror" happens around us, and it is even harder to imagine such a person ever. In order to pursue this almost incapable truth, I gave everything beyond the imagination of others and beyond the scope of my own ability. But such a story happened in reality, and it was recorded by David Fincher, a director who had already gained a certain reputation at that time. The whole movie is really amazing. It must be one of the best movies in my small audience. In fact, to be honest, this movie is not really the kind of movie I like the most. It doesn’t have too many terrifying murderous scenes and brain-burning reasoning processes as I imagined, but it is calm and restrained in Fincher. Under the scenes that release emotions everywhere, the movies lacking this eye-catching content are still moving, as if magically, the audience is completely immersed in the emotion of wanting to uncover the truth. At the end of this case, the murderer seems to be no longer important. The shining ones are those "lonely ones who can bet on the best time of all their glory for such a thing that no one cares about for a long time." "NS. In fact, hasn't they ever had fear and retreat in their hearts? But that perseverance and perseverance have long penetrated the dark mist of San Francisco Bay, shining in the hearts of every audience, as transparent as the fireworks on July 4th. Undoubtedly the best movie of this year, because it not only tells us that the movie can make the story so wonderful, but it can also jump out of the screen and imprint everyone on it, so that people can still remember it many years later. Trembling: Ah, it turns out that there was such a dazzling soul in our world.
#FIFF13#DAY2's main competition score will be released for everyone later, please wait and see.
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