Almost all ethnic groups have a fascination with "big". After getting rid of the shackles of censorship, learning from Hong Kong films and borrowing from Hollywood, Korean films have risen rapidly. In the genres of comedy, crime, and action, they are no less inferior than or even surpassed by the two masters. However, due to natural reasons, the Korean market is after all small, and it is difficult to nurture Big Mac-level productions. But nothing can stop the Korean film yearning for big. The theme of costume is a common carrier of blockbuster films, and it complements the national spirit to release the enthusiasm for "big". And Korean audiences embraced local blockbusters with the same enthusiasm.
Great movies each have their own splendor; but bad movies have their own bad looks. But in the field of large-scale films, everything is moving closer, whether they are wonderful, mediocre or ugly, they tend to look similar. Like Hollywood animation, or American comic hero movies, both good and bad are similar. You need to know Pixar, DreamWorks and Blue Sky Studios, and Marvel and DC to easily distinguish and express their differences. Korean film types such as crime and eroticism have exploded into eye-catching splendor. When Korean films continue to launch period blockbuster films, they will inevitably become vulgar. Their good and bad are lacking. "Mingliang Sea Battle"'s domestic box office results cannot conceal the boringness of the film itself. It is as boring as those obscure blockbusters, and its own level is not enough to make it transcend nationalities and become a worldwide entertainment blockbuster.
The story is based on history, a naval battle that wins more with less and wins with the weak. The plot is very simple. It is divided into two sections. The first half describes the pre-war situation, laying out "weakness" as much as possible, and the second half is the actual naval battle, which lasts an hour and shows the brutal battle as much as possible. The biggest thing to watch is the naval battle. Director Kim Hanmin is very real. The vision, close-ups, tactics, casualties, currents, and battleships took 61 minutes to shoot. The naval battle is in fact the first protagonist. As far as the perception is concerned, this naval battle shows the industrial standard of South Korean movies in a respectable manner, and the viewing is not so good, and the emotions are naturally not enough. Because there are too many deduction factors.
Winning the strong with the weak is regarded as a miracle because it goes against common sense. To present it, the first thing to be solved is to turn the unreasonable into reality and make people believe in miracles. The director has made a lot of effort in this regard, constantly describing the tactics, climate, and current changes, trying to make the process of the birth of the miracle clearly visible. Compared with the tactical scheduling, during the battle, the scene scheduling on the camera was a bit frantic, relying on close-ups from time to time to explain the situation of Yi Sun-sin and the "One Piece". Close-up shots and close-ups give the staged battle conditions and results, and the shooting process is a bit messy, destroying some of the viewing.
More importantly, all energy is devoted to naval warfare, and the rest becomes very weak. The character depiction is simple and pale, and Yi Sun-sin, played by Choi Minzhi, is the most non-layered character in the movie he starred in. His main emotion is a despair that puts death to death. The Japanese One Piece played by Liu Chenglong didn't give much space to show his character. Assuming that the audience knows the image of the characters well, it can only set off a self-healing carnival in the local area. The sensationalism that Korean films are very good at is reduced to a botched single posture in this film. The scene of a dumb girl waving her clothes makes goose bumps arise, not touching, but discomfort.
The characters are simple, sensational and low-level, and the skills outside the big scene are similar to the anti-Japanese drama in the inner dimension. Kim Hanmin's last costume play "The Final Weapon: Bow" uses the bow as the theme, which is good to watch and the characters are much more three-dimensional. In "Mingliang Sea Battle", the characteristics gradually faded and disappeared, and the price of pursuing a blockbuster was paid. Reaping high box office sales, practicing industrial standards, or promoting the national spirit, if you continue to worship these things, Korean movies will become less and less fun. 【Sohu Entertainment】
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