Speaking of joking, a Hollywood comedian, also named Nissen in Chinese, once starred in a movie series featuring a white-headed detective. There is a classic example of "repetition" in the film. The detective ran to the shoe-shining stand on the side of the street as soon as he encountered a tricky case. The shoe shiner turned out to be Bai Xiaosheng on the streets of the United States. In the first episode, after the Inspector Solve left, the priest took it. His question was, "What do you think of the afterlife?" In the second episode, the surgeon followed up with the question of the technical details of the operation. The third episode, not downloaded, nest hen. The fourth episode analyzes the psychological distress of women after menopause. In the fifth episode, firefighters ask for advice on how to extinguish a fire in a certain fire mode and escape. The shoe polisher replied, and the other party was still taking notes very seriously. In the sixth episode, a man in a suit, who is suspected of being a middle school principal, comes to inquire about fashion music
that young people at school like but he does not understand... This is a positive case of "repetition of details". Positive means that it is really funny, but the premise of being positive is that the director of the play can realize the potential for satire in a certain thriller genre before the audience, and repeatedly ridicule it.
But the repetition of the hurricane rescue, whether it was a phone warning to a woman or an escape in handcuffs, had a completely negative dramatic effect. And only to repeat it a second time, it is already stretched. When Nissen was holding a gun, he could still take out his cell phone to talk? Then after being handcuffed, he conjured a mini phone from his shoes and socks to make a second call? Kim Basinger’s phone-titled thriller did not dare to play mobile phones so unscrupulously, but it turns out that the terrorists in this film have regarded mobile communications as a person’s most basic human right. Seeing, not seeing, must satisfy you to fully communicate with your family?
where is the problem? The reason is that the director tried to retain the so-called classic scene in the previous episode and deliberately "pieced together" a story that could lead to the reappearance of the scene but with a different content. But in this process, he did not realize that the scene at this level is not easy to reproduce, and it should not be reproduced.
On the one hand, Operation Hurricane cannot be serialized like Besson’s previous taxi drivers. Taxi drivers, like doctors and nurses, have the "professional legitimacy" of frequent encounters with strange people and strange things. The characteristics of their occupations determine that they can live "excitingly" in the drama and story every day. The story of a daughter being kidnapped + a father rescued has nothing to do with a particular profession. It's not that you are a former White House guard or a former SEAL, your girl has the "logical justification" of repeated abduction threats (especially the pattern is very similar).
On the other hand, such as layering the story in the movie. "Good guys do not die, bad guys will lose" belongs to the largest layer; "Bond, James Bond" belongs to the smallest layer. You can repeat both layers. The former cannot be repeated without repetition. It is a necessary prerequisite for the existence of genre films, and it also caters to the overall moral and aesthetic needs of the audience. The latter is just a line, a pocket-style modifier, and has nothing to do with the plot. But "Called my daughter and urged her to hide quickly so as not to be caught by the bad guy..." But she just got stuck in the middle of the two. It does not belong to the category of the audience's disbelief, nor can it exist independently from the plot itself. It just happens to be what every creator should "original" in the current work. If you even borrow or inherit such things, why do you have to write a screenwriter?
Another example. "The True Colors of Heroes" series. Xiao Ma's revenge and bloodbath gangs belong to the first category and can be repeated. Pony is playing handsome with a toothpick, just like "Bond, James Bond", it belongs to the third category and can be repeated. But in the first episode, the vase hidden gun before Xiao Ma enters the hotel and kills, belongs to the non-repeatable intermediate category! If Wu Yusen and Chow Yun-fat make another flowerpot hidden gun in the second episode of Heroes, even if the flowerpot is changed into a Buddhist altar and the pistol becomes a flying knife, will the audience buy it? Certainly not! Such a reappearance of the scene can only survive in two forms: either it is Stephen Chow's funny joke, or the character lines in "Dragon and Snake" pay tribute to you.
In addition, there is a very special situation that can be tolerated a little. That is, Nissen’s action scenes are so dazzling that they can rival Michael Jackson’s spacewalk, and even enthusiastic fans can completely ignore the far-fetched and old-fashioned tunes of your series. But it is clear that the hurricane rescue is far from this state. And this cannot fail to mention the essential difference between Western-style movements and Eastern Kungfu.
The action scenes in Western movies have made great progress in recent years with the help of Hong Kong Wuzhi. This is a fact. But the problem lies in: 1. Because Western movies are inherently unable to break through the shackles of realism (non-derogatory, strong realism is the advantage of Western movies), the action scenes cannot exist independently of the plot and the characters. It can't cut off the role of the story like the Eastern Kungfu movie, but only put forward some of the action scenes for appreciation. For example, the duel at the end of Drunken Master 2. 2. What's more, the improvement in the quality of Western movies is only compared to my own past. Compared with the Hong Kong-produced action movies of the golden age (with this time limit, it is also a kind of sorrow), it still lacks a sufficiently attractive independent aesthetic value. The reason why the protagonist’s capture methods are presented at a very high frequency of camera editing is obviously to cover the embarrassment of Liam Neeson’s lack of the necessary skills. But no matter how mature the screening skills are, it is still not as good as "actors try to be omnipotent, and the camera is responsible for the icing on the cake"!
In summary, the film seems to be only worth two stars. But with the "bomb fixed point", it can add half a star. When I saw the blindfolded Nissen counting his way, I was once disdainful: Wouldn't we be able to find the bandit's nest like this? Look down again, haha! ……Foreigners’ movies, you can’t believe it all, and you can’t believe it.
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