This is a story about memories. A remote control that you want to do-it's not really needed-is used to whitewash the dramatic cruelty on stage. The remote control is a gimmick for the legal implementation of montages in real life, and the many flashy functions are no more absurd than the flashback of a life piece when it is dying. Even if the director changes the way of telling, such as flashbacks, such as remembrance of the time that has passed, the story still interprets a complete logical thread. However, the movie is only slightly inferior to real life in terms of vulgarity. The director wisely rejected all options that were more tempting than a movie ticket, so he got a thousand movie tickets and the audience got a vulgar commercial film. As a movie, "Fantastic Remote" is a bunch of over-exploded French fries, packed in vulgar McDonald's paper cups for sale; fortunately, the story is not finished yet, it is still repeating the same mistakes, and it has been cut open. It's necessary to see.
A good job, a beautiful wife, well-behaved children, and an insatiable self-motivated spirit—Mike is a young boy with aspirations, a promising young man with a bright future. Constantly suffering the toss of desire and dissatisfaction, he never seemed to know how lucky he was, instead he kept complaining about the triviality of life and the harshness of the boss; even the too many remote controls in front of him made him at a loss, eager to find a "universal" remote control for himself To simplify complex life. The weird clerk gave him a remote control of unknown origin. Mike started Nobi Yasuo to play the rest of the game. Without Doraemon and all assumptions about innocence, the false use of the remote control made Mike pay for not being young anymore. Cost: The remote control is out of control as usual. According to Mike's judgment of the value of life, the disease/arguing/boring work is automatically passed, and a smooth path leads to what he thinks is "success". Whenever he wakes up from "fast forward", Mike needs someone to remind him of the part he has passed-his whole life. Even though he was full of frustration and frustration, Mike still became the expected "successful person" at the cost of being a bystander. At the end of the performance, he was too late to regret filling the blanks for most of his life, so he could only tell his son "family is important" in one last breath. Obviously, the idea of the protagonist dying at the curtain call is an unbearable weight at the box office. Mike, who was awakened in his dream, was given a loading opportunity. He vulgarly returned to the remote control before intervening in his life and was complacent about the mistakes he had not made yet. Swear to be a responsible husband and father from now on. This is undoubtedly a disgusting Happy Ending. The audience was rescued from the anxiety of death once again. The curtain was suddenly lowered in frenzied laughter. The sponsor preached to the uncompleted crowd: Our remote control is guaranteed for life.
Or Adam Sandler is the best footnote to the ideal living state of the post-industrial society. Standing in front of the factory wall with the icon hanging on the wall, Adam Sandler focused his middle finger on the cold neighbor, showing artificial ignorance and nonchalantness. Meaningless life calls for idiots, because it has cultivated too many philosophers at the same time, queuing to receive spiritual satisfaction in short supply. Living in meticulously modified memories, experts teach people to lower their eyes and be a blind passenger on a linear time journey. Mike has two paths in front of him. Once again, he will infinitely overdraw his life for material satisfaction, and then wait for death in emptiness; or look for the so-called "high-quality time", live in the present moment every second, and then—yes—the curtain falls. , Waiting for the crowd to disperse, star in another drama. The second way violates the principle of linear life. It turns a blind eye to the inevitable death. It believes that every good memory can comfort those who have to die-make them die decently. When Mike, who was dying in the heavy rain, was surrounded by his family, he finished saying what he had to say, finished the last time a living person paid his respects to the world, and died. Whether there is a blank or a good memory in the dying head, it no longer makes sense to anyone — no save/load, no flashback and montage. The point of the film is not "he found the right life", but just reminds the audience who are too entertaining, "you have a lot of time to spend." Even the most pessimistic person finds it difficult to get to the bottom of such an ending: Isn't it the best ending to know that "there is still a chance"?
Fragmented beautiful memories are often given too heavy a mission, and a moment of satisfaction gives people the illusion of eternal life. "Eternal now" is really fascinating, whether it is embracing the coveted opposite sex, or just waiting quietly behind the old desk for a long time. A small book by-people have paid a high price for material wealth, and it is difficult to bear a blank table without a past.
Sisyphus stopped breathing and pushed the heavy boulder again. If the stone can never reach the top of the mountain, what could be more valuable than pushing it?
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