The 30 minutes that have passed are solid 30 minutes. Killing, hatred, conflict. The personality that should be some is there, and the human nature that should be distorted is distorted. At this moment I saw Kung Fu—Yen Zidan waved his right fist, calmly, unrestrainedly and swiftly to fly Hong Tianming to the roof of the car with just one punch! It can be found that this is the effect of stunt intervention, but it is really an unparalleled punch, full of a wonderful sense of rhythm, like... the unbearable lightness in life (haha, cliché). Moreover, absolutely violent. This punch shows the unconcealed violence of the film. It doesn't need too much hypocrisy.
This is the violence that I like! In fact, how long have we not seen violence on the screen? Is "Lord of the Rings" violent, the wild battle of a hundred strangers? Is "Matrix" violent, that close-up of cheeks deformed with fist? Is "Infernal Affairs" violent, that slowly hitting the elevator door of Chen Yongren's body? Is "Seven Swords" violent? That sword swung the shin into two pieces? No, it's not enough. Violence is an undisguised vent in an extremely depressive atmosphere! The violence in the film not only resorts to the camera, but also exerts on the audience, squeezing you, beating you, and holding you tight, until all the grievances, anger, and depression you have been manipulated reach the critical point, and you have to vent it if you need to vent it. At that time, it also burst out in a big way, closing in with your cathartic desire in the most extreme form. Screen violence is often more than real violence, because it brings the most incisive pleasure, regardless of the consequences, and no consequences-real violent movies will not make people have the urge to imitate, it is a one-off: you can feel it Studying over and over again, cognitively, it is just to die of addiction, after all, it is just the purest pleasure.
As far as this theory of violence is concerned, "The Lord of the Rings" and "The Matrix" are both gentle and lyrical classics. "Seven Swords" only passed the battle of Wuzhuang, and "Infernal Affairs" is too wasteful of ingenuity. The violent classic in my mind is "The Crow": The rock singer who died with hatred suddenly resurrected, and his heart is full of mourning for his beloved wife and hatred for the murderer, launching bloody revenge. "The Crow" uses the warmest memories to correspond to the most tragic destiny, and then unfolds a violent vent without hesitation, like a rock opera full of dead souls under the endless cold rain on the burning street, every time I watch it, my blood is boiling-that kind The anger that came from the character played by Li Guohao made me tremble.
There is also Wu Yusen's "Blood Two Heroes". While watching this classic, I couldn't wait to jump up from the stool, but Wu Yusen pressed me there again. The depression in my heart reached its culmination when Zhu Jiang was beaten. Fortunately, bullets like torrential rain came immediately! The church with bright candles in the dark, the small village in white, the flying white doves, and the holy Madonna are scattered in fragments, countless bad guys poured in, and then slow motion shows the angry bullets pouring on them. When they twitched exaggeratedly or flew backwards to smash the window glass! When this ceremonial battle ended, Xiao Zhuang and Jenny, who were blind, crawled on the mud and blood mixed ground, but there was no chance of meeting again. At this time, I no longer had the strength to jump up. I was caught in the pain after the extreme violence. This is the real violence imposed on me by this violent movie.
"Slaying the Wolf" rarely hurts, even if it gave Ren Dahua countless sad eyes, even if it showed us how beautiful Sammo Hung’s wife is and how cute the child is, even if the detective who walked on the street before seeing his daughter’s present Member Achen. Those can only bring some regrets in my heart. All the warm embellishments are just to bring out a world of evil cycles. In such a world, everyone is paying the price for their sins, and fate is overwhelmed. At this time, only sharp blades, guns, and fists have made a bloody path!
So there was violence that spurted out. To put it bluntly, Donnie Yen gave this movie a soul-although Ye Weixin’s narrative guarantees that "Breaking the Wolf" has a beautiful enough body for us to linger from beginning to end, the most important thing for the film is, In addition to action, it is action!
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