I admire the rhythm of the film, which is compact and natural, without procrastination. However, it feels like the protagonist's superb acting is what supports the whole structure. Joanne pretends to be mature and habitually exaggerates her age by several years in front of everyone. When Derek asks her if she is no longer a virgin, she turns her head slyly and carelessly. Said yes, but seemed to be defenseless, even if the gangster father maliciously tried to pull her upstairs, he still naively asked for some insignificant answers. But a child is a child after all. When I got on the train to Brighton, I forgot the tragic night before. There was only a large piece of British racing green in front of me. It was still a colorful world, a beach with ebb and flow. As for Kelly, a prostitute is just a symbol for her to survive by acquiring money, just like a vegetable hawker and a shoemaker who set up a stall, her mother's love is unattainable, her lost childhood, and her attachment to her family are more personal than anyone else. Sound, and the chance encounter with Joanne is just an outlet to free her. So I think Joanne's awakening Kelly's motherly love goes way too far. I feel that their relationship is more like a friend, and both Kelly and the son of the gangster father, the son of the gangster, should have found a shadow of himself at some stage in Joanne. As for the story, it is difficult to understand in many places. The gangsters broke into the door, men and women filed out, and no one thought of calling the police, but they remembered it for a few hours. Another example is that I personally think that the character who caused the death of the gangster father should be his loyal son~ In the flashback of that scene, the son looked at the bloody father with a cold eye, motionless, and the father's eyes should be thoughtful, right? ~~Since the death of the father is a very happy thing for the son to solve the childhood scars, even if he wants to be a ghost, it is reasonable, there is no reason to find a benefactor to bury it~ Normal intelligence Everyone can imagine that a twelve-year-old child would have to experience unknown hardships in such a field, and there is no need to pull it into the car like an assembly line to ask for sympathy and sympathy, and then turn to repentance. And swallowing a pack of cigarettes is really unforgettable, but it doesn't make you feel like you're dying, and you think it's not enough. And it seems like an exaggeration to say shocking, the nameless reason makes me feel that the director accidentally leaked the ending. Before leaving, asking the shivering "murderer" if he had money was too provocative. The ideal situation would be to cleanly dispose of the body and then go out of tune without waiting for anyone to react.
In short, cowardly and selfish people died in the right place, and it was pitiful that Derek's dog leg, who was found halfway through his conscience, was killed before the mastermind.
View more about London to Brighton reviews
