I planned to only watch the regular version. I can predict how crappy a desert martial arts movie would be if it were watched in 3D, and how earthy it would be to make a three-dimensional effect in landscape painting! But the unscrupulous theaters were all 3D and IMAX, so they had to give in. By the way, the ticket price of thirteen hairpins is five yuan more than that of Fei Jia, and Mouzi is five yuan more expensive than the old monster.
But this movie is really tiring. The "New Dragon Gate" paid tribute to Hu Jinquan and continued the solitary smoke of the desert like a frontier fortress in the Tang Dynasty. Several generals, Maggie Cheung, were coquettish and exquisite, and Brigitte Lin's blood-red and white female was a person of pleasure. No two. And "Flying Armor", except for the overture of the opening knife meeting, the rest can't find the soul of "lonely smoke in the desert, children in troubled times". The opening session was still with the power of the East Factory and indiscriminately killing the loyal ministers, but the factory master who was captained by the lords didn't have the demon and hostility of Yen Zidan back then, and he was cold for the first time. The next thing to do is to count celebrity faces with LP, which is similar to flipping poker, and the other is to listen to the red men and green women in the theater yelling, Kun Ge Chun Ge Xun sister Xuan Xuan Gui Lun Mei, wave after wave.
Not to mention the far-fetched chaos of the story clues, and the lack of pretense of the performance. Just talk about a few details. Although the love between Huai'an and Mo Yan in the "inn" hasn't explained the cause, several scenes have rendered the two emotionally rich. In the "Flying Armor", Yan Qiu is an abandoned wife with low EQ, and Brother Huai'an's method of letting him die is so clumsy. In the story, the emotions of the two people are also a focus of attracting the audience. It is a pity to deal with it hastily. The various demons who entered and exited the inn fought fiercely in the "inn", but in the "Flying Armor", there was a lack of tension and chaotic group play, and the scene scheduling was about to get out of control. It can be seen that the director has no intention of caring details and full of humanity under the framework of the commercial giant system.
Commercial blockbusters have three treasures, special effects, star face plus downfall. Chinese directors love pornography and voyeurism, so they are very reluctant to add a little bit, the kind of deep palace ban soft pornography that most caters to the G-spot of the Chinese people. It can be seen that this film is still the main pusher, Kun, and the two corners show the extraordinary temperament and acting skills of the yin and yang, with a high degree of completion. The maturity of an actor is actually the process of forming a fresh personality and unique thoughts with performance experience rather than just "mixing".
Suddenly I feel that the reason why the boss is "weird" is to break through the genre film routine at any time and create another "genre" at any time. "Flying Armor" wears martial arts and pays homage to himself, but has the ambition to shoot 2012 disaster movies, fantasy movies that break through the limits of physics, wild west plus pirate movies, in short, domestic and foreign audiences take it all. But what is the theme? Where is the soul? When advancing with the times, something terrible seems to be lost. Of course, this seems to be the theme of the times. Just like the flute that floats in every martial arts film of Tsui Hark, it is actually dispensable.
But it is enough to fool the audience now.
ps: Just like Liang Jiahui said "Longmen Inn, I don't want to see your sunrise again", today Feijia can't find the feeling of NB. It was 1992, the tail of a great era. Hong Kong films are still in their golden age. Subsequently, Hong Kong movies have repeatedly declined. Although there are still the persistence of Du Qifeng, Xu Anhua, Chen Kexin and others. But when Hong Kong directors integrated into mainland investment, they had to compromise and give up too much, such as ideology, such as the exploration and freedom of laughter and curse.
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