According to the emotions of ordinary moviegoers, of course, including me, I can't wait to kill this bastard murderer in the future.
In the end, when the police stopped the victim's mother trying to kill the murderer, I can't wait to go into the movie and kick this useless policeman a few times, you are too fucking useless! Did not know that the following plot took a sharp turn, the police personally killed the murderer, and thus served 5 years in prison. Seeing this, I think the director still took care of the emotions of most people, and let the police arrest the murderous and perverted murderer. I don't know how long it will take to investigate and collect evidence. It's too cheap for this pervert. If this turns out to be the case, I'm afraid The director will be scolded to death.
However, in recent years, there have been countless examples of such perverted murderers who have teased the police for several times and were eventually caught and handed over to the state apparatus to be tried in accordance with legal procedures, or simply escaped in the end. If this kind of film is not to show the "correct" orientation of "law is greater than love", or to show that the society is dark after all, justice cannot always overcome evil, and it seems that the screenwriter and director are better than others. Movies all boil down to jerk screenwriter jerk movies.
Because, the movie is a thing, at least the guidance must be "correct", that is, the evil does not suppress the right, and the perpetrators cannot live. If you don't even want this kind of guidance and bottom line, what's the point of watching movies.
In the first half of the movie, the police were so useless that they were ridiculed and teased by the self-proclaimed murderer Li Doushik. Li Doushik played the leading role really well. His handsome appearance also hides a faint evil spirit. He really looks like a murderer. The cowardice of the police is also manifested in that they can't even protect their own mother, and are teased by the murderer with their eyes down. This kind of setting is often used in homicide crime dramas in recent years. The police are no longer smart and brave, but ordinary people with distinct weaknesses. Instead, they are criminals, brave and resourceful, and often play with the applause of law enforcement agencies. But after the plot took a turn for the worse, it turned out that everything was a big picture jointly made by the police Uncle Cui and Li Shuai, the purpose of which was to attract criminals. After the goal is achieved, we can see a forbearance, meticulous and persistent police image here, and the two of them have a new look, especially Li Dou Shi, who has changed from a show gangster who is complacent and hated by me to a single-minded gangster. The positive image of revenge for the mother, this transformation is really a 180° turning point. I hated it before and now sympathized, and I had to admit the director's ability to lead the audience by the nose.
Then the game was successful, the murderer really showed up and was complacent, this guy really had an evil face, and this went back to the traditional old way - the evil people are so wretched and ugly, people all of the previous hatred for the criminals are all at once. Focus on this face. Although today’s movies have long stopped using face masks when setting up characters, handsome people are not necessarily good, and wretched people are not necessarily cruel, but this movie still overthrows after successfully portraying a handsome murderer, and finally locks the wretched man. For the real murderer, let the audience return to the traditional viewing experience. This kind of setting makes the murderer eventually become the public enemy of the whole people. Whether it is the people in the plot or the audience's resentment finally has a final outlet, that is, catch him and kill him. In order to enhance this effect, the director deliberately allowed the murderer to perform to the best of his ability in the plot setting, either disdainful, complacent or perverted, which really tested the audience's bottom line and nerves. It's hard to imagine that if the murderer is not dead, how can the audience feel? The murderer is not dead, how can the audience smooth out the waves caused by all kinds of teasing? Just like at this moment, the murderer has been dead for 10 minutes, and his disgusting face is still in front of him. But the director didn't want everyone to have such a good time. It's not so easy for the murderer to subdue the law. He has to chase and fight, and finally die under the venom of the snake. It's really cheap, this kid. With this kind of setup, the director does feel like it's showing off. The resentment accumulated in dozens of minutes is so easy to break up that the audience is still scrambling to stop it abruptly. . I think the director did it on purpose. This kind of structure is more likely to cause a strong sense of asymmetry, and it is also a relatively common narrative structure in recent years, that is, the preliminaries are such as reservoir water storage. No, the wash water runs slowly. This kind of setting is the easiest to excite people's hearts, and it makes people feel good after reading it. The traditional plot setting is to lay equal emphasis on the foreshadowing and the climax, to achieve a certain emotional balance, and if not everyone is happy after watching it, it will also be satisfied.
In this way, the director is indeed a master at controlling the rhythm, and the audience's mood fluctuates as the plot unfolds, completely losing their own judgment. In this sense, the film is very successful.
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