I especially like this line, and the outline of the story comes out in one sentence. This story looks very fresh. At first, the murderer kept killing people, then the police went to the gangster scene on the way to the traffic jam, and then the two gang bosses confronted each other. I'm still wondering why it's so messy. How come there are three lines in a genre film, and two hours can't explain so much information. Then, the gang boss was stabbed and became the only one who survived. The story later developed into "the police and gangsters join forces to catch the devil", and the screenwriter's trick is really beautiful. Anyway, I didn't expect it.
One of the very important details is that the devil's driver's hand has lost many layers of skin. It was only later understood that the intention was that he had no fingerprints. I especially like this way of expressing the language of the camera. It is good to be able to use the camera to explain things clearly without using lines.
When two people cooperate, they must not believe each other. What about performance? The big boss recorded and said that we cooperated to catch the devil, and I caught him and killed him. The police said, I'm caught and sent to prison, let's see who goes first? Then, the big boss killed his nemesis (the salamander's father). The police asked, and he admitted it. The police later recorded it. These two settings are too good, they are both recording pens, and they are the other's Achilles heel.
How to reconcile? The two of them faced life and death together. The brothers of the rival boss came to smash the field, and the two teamed up to defeat them. And the line that examines the clues in the car is wonderful.
Police: If you want to kill him, you'd better find some clues. If the CSI catches him first, you and I are all over.
Big Boss: Is this your life? It's so pathetic to be a police officer, sympathy for you.
Policeman: So, don't commit a crime. grandson!
Big boss: If there is no such person as me, what do you rely on to eat? [I especially like this line, it feels like a brand new point of view, isn't it, this is what a gangster can say, where is his position. 】
The world is like this, with prey and predators. (…도있고…도있고)
Policeman: Yes, someone was stabbed. (...도있고) [Off-topic, this sentence pattern is too good. It follows the logic and sentence pattern of the other party, damages the other party, and leads the topic to the information to be explained. It is very clever. 】
Big boss: He attacked me from behind, what can I do? I grabbed the knife and stabbed him.
Police: Stop.
Big boss: what's wrong?
Policeman: You just said, you stabbed him?
Big Boss: Yes, what's wrong?
Policeman: I seem to have found something.
I watched the scene again and realized one thing, that two people came to check the information, so they have to talk about something, right? If you just come and look for information, no problem, but boring. Make your images interesting, and let your actors have something to do and say. The effect of this paragraph is particularly good, there is sarcasm and sarcasm, but after talking, the information is explained, which is very clever.
When explaining information, especially case information, you must make the picture interesting and let your actors have something to do. What happens in the picture may be more exciting than the information explained, and the audience will laugh. Well written. The picture is so fun that the audience ignores the lines you explain, and these lines can become a foreshadowing after the fact.
It's very annoying to play. Anyway, I fast-forward every time, so I can't watch it any longer. I'm not their audience either, so I have lost a lot of duties that should have been pleasurable. I always boasted that I was a female man. When I watched car scenes and fight scenes, I realized that we are indeed too far away from the men.
View more about The Gangster, the Cop, the Devil reviews
