To make a good revenge movie like this one, there are one small one, one big and two things to deal with: the small one is the motive of the Avengers. The more the audience can empathize with the motives of the Avengers, the more they can experience a sense of venting their anger when the killings are launched later, and they will not have such thoughts as "Is the protagonist's actions too cruel" that affect the look and feel of the film (After all, this kind of movie is just to watch the protagonist kill all parties and get revenge. It's just cool. Has the director given the protagonist a reasonable enough motivation is the basis for being able to watch this kind of film well? If the motivation is given enough to arouse the emotions of the audience , Let the audience complain about the protagonist, the movie is almost half the success). Another big point is that the revenge scene must be exciting enough, it must be worth watching, and it must also vent the audience. The reason why this part is a big shot is that as long as this part is done, it can be regarded as a qualified popcorn movie and a movie that can still be watched.
However, "Quick Pursuit" did not do very well on both points.
Motivationally speaking, only through “videos of couple kissing on the beach, sitting in front of the wife’s bed and reminiscing about the two kissing on the beach, photos of two people in the living room” in the opening minutes, these are very stereotyped and old-fashioned. Some elements are not enough for the audience to substitute in it, or even a little boring. The dog stayed with the protagonist all night, and he established a close relationship with the protagonist for several years. He understood people's words, woke him up at the point where the protagonist usually wakes up, and got into the car naturally and tacitly, which also seemed abrupt.
In terms of revenge, there are no bright spots. It's the level of Hollywood industrial assembly line that moms who don't usually watch Hollywood action movies would find wonderful. The whole film has been using a third party to highlight the protagonist’s strength, legend, wide connections, and well-known (this part of the pretend role is actually well done), which collides with the protagonist’s action scenes and provokes them. Counter-effect: The gang boss said to his son with a lingering look that I saw with my own eyes that he killed three people in the bar with a pencil that day! Just use a small pencil! When the protagonist kills the gods and takes his own hands, the technique is not neat enough, and he often fights with people for a long time, and finally fights with the gang boss who usually sits in the office in the heavy rain! I was stabbed first! Apart from the protagonist's own "I shot one shot, I can't even hit me" buff. In fact, it doesn't mean how bad it is, it's just that it seems the protagonist...a bit of a dish compared to the side film that is too good. Otherwise, the protagonist is not like a killer. The protagonist should have a sense of coercion as a top-notch terrorist killer, the atmosphere that makes the other party feel that they don’t know when he will be killed when he is playing against him, the killer’s peculiar caution and behavior habits, all in the movie No performance. (As a killer, it’s a miracle that you have been letting go of your enemies and you can live safely until now)
A few interesting details: The gang boss looks a bit like Jim Huck in "Yes, the Minister"; the orange plastic vial filled with medicine given by the doctor is very similar to the packaging of an orange-flavored lozenge that I ate when I was a child; Nu Liweis is still old after all. It turns out that the handsome guy is old and will become ugly if he has a decree pattern.
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