The most recent movie with a strong sense of resistance is of course Martin Scorsese's "New York Gangs". I thought that this big-production gangster movie would end with Amsterdam's revenge for killing its father in the public. It's so beautiful. It’s also worthy of the arrogant and sensational gang fight in the beginning--but in the end the director submerged the plot of revenge that should have been the highlight in the grand background of the turmoil in New York. In the panoramic painting of the army slaughtering the mob, the violence of the country is compared with the anger of the people, and hatred. Family feud is already trivial. At this time, the real damn villain was not Bill the Butcher but a well-dressed politician. The story starts from the murder of the people by the people, and ends with the murder of the people by the army, and finally accuses the state of behavior! The critical juncture draws the audience’s attention to the state manipulators and their hidden behind-the-scenes activities, exposing the hypocritical and brutal nature of state behavior, transitioning from a typical commercial narrative to bold political criticism, the singular mutation of the type, and the discovery of themes. It's profound and unexpected. What's ridiculous is that when Wang Jing constructed the so-called "Black and White Forest", the so-called "Black and White Forest", he misappropriated the "New York Gang" story of "the son avenging his father". Of course, Hong Kong directors have always been good at stealing. It’s just right. It’s just a comparison of the heavy epics written by Hollywood filmmakers. This time Wang Jing’s stealing looks extremely unskilled. The story seems to be similar to "Infernal Affairs", but in fact it is indiscriminately fabricated, contrived, and full of flaws. It cannot be justified. It is absurd, not to mention any extension of thought-"Black and White Forest" is a retrospective of Hong Kong movies, known as the strongest summer file, but this way, the group's end is irreversible.
[Reposted from the Jagged Community http://bbs.tiexue.net/ ]
Before seeing Liwang feel sick, now with the increase of age and experience, I discovered that Liwang’s performance is exactly what the society lacks!
It must be admitted that the brilliance of Hong Kong films has become history. Only by looking back can we find self-esteem. However, most of the recent DVD productions in Hong Kong’s three regions are new movies. Many old movies have unsatisfactory picture quality. There are often scratches and smudges on the film. The picture quality evaluations obtained are often "average". "Poor" is just "super V**" at best, the old classics with outstanding performance are especially hard to find, and overall it gives people a "third world" feeling. Fortunately, HKL (British Second District) and HKV (French Second District DVD) digitally restored the classic works in Hong Kong movies and then re-released them for the benefit of disc fans. After the classic works of Wu Yusen, Tsui Hark, Jackie Chan, Zhou Xingchi, Liu Zhenwei and others were released after restoration and release, many disc friends rushed to regain their old dreams. It started unexpectedly.
However, the brilliance of Hong Kong directors cannot be surpassed by funds in many parts of the mainland and Asia; they dare to expose social phenomena and dare to face social ills!
The king of power forever! Hong Kong movies forever!
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