Seeing Uncle Long is still fighting for his life on the big screen, it really hurts, but there is selfishness not wanting him to stop.
My generation also grew up watching Uncle Long movies. Since the new century, he has been seeking transformation, and the taste of preaching has become stronger and stronger. The reason is that he can't touch him when he is old. But the Uncle Long in our memory is always a performance in a kung fu action comedy created with thrilling scenes and creative designs. Perhaps it is based on the false transmission. I have seen someone say to Uncle Long that "If you return to the silent film era, only Mr. Bean and Jackie Chan can continue to be popular." Indeed, just like the Bean, Jackie Chan’s action comedy style cannot be learned by others. Now that stunts are paramount, not many people would dare to make movies like that.
In this film, after abandoning the new technology and patriotic preaching in the Chinese zodiac, it uses a simple plot that focuses on the interaction of the two male protagonists, creative fighting design, and the combination of life thrilling scenes and other typical Jackie Chan features, creating a more Films that are close to the early and heyday styles are like dreaming back to Uncle Long back then. Of course, as the sequel to the Flying Eagle Project, the Chinese zodiac followed Jackie Chan's adventure and explored comedy, which is another way of playing. The core of Jackie Chan's non-replicable model is to use comedy exaggeration and humor combined with life-like scenes and props to show interpretive actions and kung fu, so no matter what the theme of the movie, you can see many similarities. In summary, it is "unchanged formula, familiar taste".
However, I feel that this film is particularly like the fusion of Shanghai Noon 2 and Rush Hour 3. The multinational double male protagonist CP combination has a super high chemical reaction, and the whole world is rampant to solve the conspiracy related to Uncle Long. There is also a female character who is a good friend of Jackie Chan's side. Especially in this film, compared to the rush hour, the male protagonist is more like the American cowboy ruffians at midday in Shanghai, and they are all white.
The plot mode of Escape from the Jedi, on the contrary, is like a big collection of Jackie Chan's police and gangster movies. There will always be a scene where the male protagonist is framed and then cleared of suspicion. And the biggest reversal of the film, if you have watched the Hancheng Raiders, you can guess that the person who is least likely to be a boss happens to be the boss, while the people who seem to be the boss are all younger brothers. But in fact, the film has almost zero foreshadowing the reversal of this scene, and made some misleading reversals, and there is no bright spot in the follow-up. Maybe you will be surprised at the moment of announcement, and it will return to calm after a few seconds. There will be a feeling of "it turns out to be this way".
This sense of calm also applies to the comedy part. Maybe even if the author’s laugh is such a low point in the film, the only people who really laugh are the CP-based scene and the CP-related dialogue. The rest is just Just puff and smile. Even Jackie Chan’s most proud action designs are mostly common methods. Only when the Matryoshka knocks out one layer and one layer is still interesting, it’s a part of the painful part of everyone kicking the egg and hitting the hand. Not too many You can see almost every Jackie Chan comedy. There is also the Mongolian wrestling man, which is clearly the giant of the martial arts hall in Rush Hour 3. It is also the usual tactic in the Long Uncle movie to deal with the giant man.
Most of the time in this film, "Dragon is on the road" is staged on the road, but the film is like a tourist promotion film of a scenic spot. Hey, even at the end, it comes out directly from the gate of the scenic spot. Uncle Long walks to one place like an encyclopedia. Popularize knowledge of local customs and customs in local areas. But considering that most of the film’s dialogue is in English, the correct way to open it should be the English version instead of the Mandarin version. In fact, the dialogue between Hong Kong and the Mainland in the film is still English lines from the perspective of mouth, but the film is forced to dubbing in Mandarin, and only the English voice of the two male and female protagonists is retained, but Long Shu points to It is strange for people from Mongolia to speak Chinese, and it is even more strange for the chubby Outer Mongolian kid to suddenly speak Chinese. Fortunately, the English dialogue of the film is relatively simple, and you can basically understand it without reading the subtitles, otherwise it will still be disturbed by the Chinese subtitles which are quite different from the English dialogue. Looking at a bunch of buzzwords and networked terms in the subtitles, what the characters say is not the case at all.
After all, Uncle Long’s movies are getting less and less. Although his output has increased recently, his slow movements in this film have shown that he is weak and old. The author still feels that, instead of getting worse and worse and finally smashing their own brand, it is better to choose fewer scripts and directors, and work slowly and carefully.
(Produced by Shige, original article, no reprint without authorization)
Text:
Shige on July 21, 2016
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