1 Suspense and irony, the most extreme commerciality and the most profound social criticism, who said that a perfect combination cannot be achieved? Jin Bingyou is not the first to use social crimes to make social criticism, but he will inevitably be biased towards one side in the process: more commercial considerations will weaken social criticism, too much emphasis on social criticism, and often discounts on attractiveness . This film is rare on either side. Standing and making money.
2 Decisive, thorough, and even radical social attitudes. Commercial films released in mainstream channels have to take into account the widest range of markets. Even if they are critical of society (to please the audience to some extent), they still cannot deviate too far from the mainstream values. The police and judges are corrupt, but the entire public security system is still good, individual politicians are bad, the whole country will still be fair to the insulted and harmed... Therefore, like "Terror Live", it is resolutely and completely opposed. Institutional films are really rare, not to mention the celestial dynasty, there are also few in the United States. The official censorship is still second, and I am curious how the producers and investors were persuaded. But in any case, the last thing presented is a very powerful oath: filmmakers also have dicks!
By the way, let’s go a little further. The distrust of “institutions” in Korean movies seems to be consistent. Many good movies such as "Memories of Murder" and "Old Boy" are filled with anarchism. Personally think of two reasons. One is that the institutions of East Asian countries are indeed generally fucked, and the powerful and powerful control everything. The people are oppressed, even if they are democratized in name. The second is the national character. Koreans have always been fierce and violent. , He is famous for his extreme love.
3 “Presidents” are mentioned everywhere in the film, but there are no shots of a president from the beginning to the end, very meaningful arrangement;
4 Most of the shots were completed in a small studio, but the world outside the studio is involved, The intricate relationship between characters is magnificent, which shows the director's skills;
5 Almost all the drama focuses on a protagonist, which can be described as a bet against the sky. Fortunately, the starring role did not disappoint. The character's desire for victory, arrogance, insignificance, cowardice, sympathy, and finally grief and despair are all on the face. Such an image is so typical in modern society that many audiences can I feel sorrowful; I think it’s the screenwriter who is even more powerful. In addition to the main line of entanglement with "terrorists," I have not forgotten to join various contests between the protagonist and his boss, his ex-wife, and government counter-terrorism experts, so the audience can see The protagonist makes every decision in such a complex and multi-layered "force field". I often say that the biggest difference between a good movie and a bad movie is the motivation of the characters. The actions of the characters in the bad movies often lack a reasonable explanation. It's just that the screenwriter wants him to do so for the sake of plot development. Don't really! do not! do not! I thought it was so easy to do. 80% of the actions of ordinary movie characters are reasonable in the real world. I think it's quite good, and I really haven't found where the protagonist's actions are unreasonable in this film.
6 In many respects, this film reminds me of the "TV Station Storm" that can be recorded in the annals of many years ago. The modernity cannibalize and alienate people, and finally presented in a crazy and hysterical way. The professor of social and cultural criticism strongly recommends-of course, critique is critical, go out of the dark room of the theater to sing, dance, dance, and dance. The advantage of the theater is that it gives modern people a way to temporarily escape from that set and proper venting, but don’t forget the movie It is also the product of this "modernity"-far away. Anyway, every filmmaker should have made such a film for this life without regrets, but this also confirms that the real world hardly gives such film soil-South Korea’s recent years of such films have come out to illustrate it. The maturity of the entire film industry (note that it is not a single film) has reached the international leading level. I don’t doubt that there will be a few cases of strange seedlings occasionally popping up from China’s poor soil and rushing into the International Film Festival to win an award, but in terms of the entire industry, ecology, and culture, hehe, Korea is already flying in the sky, and we are still crawling. Plan to eat in the crop fields.
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