Although this is the fifth collaboration between the director and Scott Atkins, it is indeed the first time I have watched a Jesse Johnson movie. This seems to indicate a problem, I am not a fan of Atkins, not a fan of Jesse Johnson, nor a fan of the old movie bone Louis Mandila, but this does not prevent it from making me sleepy Rescued from the state. Four-star is an evaluation that I don’t like to give. Three-star is the passing line, and four-star is only one step away from the classics. For me, "Debt Collector" (2018) is of course a pass, but it has not risen to the ideal four-star position in my mind. It was given four stars because I suddenly discovered that the director had the ability to shoot better, but he Didn't do that.
"Debt Collector" (2018) is a movie that will not become a hit, but its coldness will also be liked by many people. The reason for adding a year after the title is that the starring of Atkins is destined to be a film different from other movies of the same name, but the director chose to shoot Atkins’ male number one as male number two. Let our fighting king be a low-key foil by Louis Mandile. Compared with Sue, played by Louis Mandile, Akins's role is not full enough. Outside of the action scenes, he may have a few pages full of inner monologues, but they are not shown in the film. This can be seen as a flaw in the film, but when you see the ending, this is not a failure when you think about it.
The film is full of hints. The most obvious is the black-and-white documentary flashback of "The Life of the Cow". It is so obvious that the conflict with the original atmosphere of the film makes the faint and ominous premonition even stronger. Another director may not handle it this way. They will make this suggestion more appropriate and natural and leave no traces. Even the end of the film will be designed with sympathy and sympathy to portray Su's image more perfectly. But director Jesse Johnson did not follow the classic old routines. From violent debt-collecting action scenes to emotional scenes in the characters, from the sweet taste at the beginning of the film to the pain after the sugar coat is broken, the only principle the director follows is from A sense of reality by chance to inevitable.
There is no so-called brotherhood, there is no so-called self-salvation, destiny is destiny, and that has long been doomed, and the ending is waiting for you inadvertently.
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