There are two possibilities for a good movie, one is the splendor of the structure and the plot, the other is the exquisite and vivid acting skills of the actors, of course, there is no shortage of top movies in the history of film that combine the two into one. Regardless of the direction, the judging criteria can be very complicated or very simple. In simple terms, for example, whether the audience is in a play or not.
Movies that rely on the plot to firmly grasp the audience's attention will be reflected in either the plot rhythm is tight-such as Hitchcock, the ending is turbulent-such as Shawshank's salvation, the scene is majestic-such as Transformers II, fighting The picture is elegant-such as The Matrix, or the story contains a deep background structure or even philosophical meaning-such as Prometheus and Blade Runner. Although it is necessary to rely on qualified acting as long as it is a well-received film, acting is sometimes not the focus. It is a supporting role that serves for the promotion of the plot. It even requires the audience to watch it several times to feel the superb performance of the actor. Just as an example, take one of my favorite Bourne Shadows trilogy, although Matt Damon is an excellent actor and his performance is also very good, this series of elements that are really loved and even sought after by many people must be his main line of amnesia and An exhibition of agent skills that tends to be realistic. All Matt had to do was to be unsmiling from start to finish.
In addition, there are some movies specially created for "God Acting", which also have the same characteristics, that is, the structure is relatively delicate, the plot does not rush forward, there is no need to explain too many backgrounds and clues, and the contradictions are slow and tangled from the softness. The ground unfolds, causing ripples instead of waves. The audience can experience the actor's frowns and smiles, and even substituting themselves into the characters in the freeze-frame long shots to do short-term thinking. Russel’s last two Oscar-winning works are of this type. They don’t choose very novel themes and don’t take a passionate route, but they give the leading actors plenty of space for them to show off their acting skills to show the character’s character and heart. Variety.
However, this step of the movie is different. The American scam, by looking at the name, you can realize that this is not a small subject at least. There cannot be too few characters in it, and there cannot be a too simple story. A scam, then it is born with at least two threads, illusion and reality. Movies have a length limit, except for feature films like "Havoc". A film work must be completed within two or three hours-this kind of rigor is somewhat similar to a composition for a college entrance examination. Therefore, a congenital shortcoming of the film arises. A director who likes to analyze the character in depth and is also good at providing a platform to stimulate acting skills, directs a complex story with a lot of protagonists and supporting roles. Maybe for another film, Jeremy's appearance rate and interpretation of the role can be said to be overwhelming, but he can only be ranked behind Cooper in this film.
Therefore, the results shown in this film are somewhat nondescript. On the one hand, the four major leaders are all large sections of lines and close-ups and long shots. On the other hand, they have to list many large, medium and small scams. The director has lost the sense of rhythm in the film. Control, the audience-at least I-found that the movie was cut into many sections, one section in the show acting, the other section in the architectural background, another section pushing the story, and then the story pauses to continue the show acting.
On this basis, the screenwriter and director resolutely placed a big return carbine to the plot like all "scam" stories, but because of the excessive characterization and emotional entanglement in the middle of the story, there was no time to lay the secret button. This big return carbine The performance started almost from 2/3 of the timeline. Obviously the audience is ready to accept the protagonist as Zhou Yu's "losing his wife and breaking down", the director insists on pushing the story to the opposite climax, making it difficult to digest for a while. In fact, looking at each section of my so-called alone, the director and actors have done very well. The pity of this film is that it did not link up those cuts in an unobtrusive way. Taking a step back, Russel has never been an excellent director in narrative. Some of his push problems with the operation of pushing the story to a climax are reflected in "Dark Clouds", but probably many people don't care about that film. On the bridge, love is good, but if the film is called "Scam", the narrative rhythm has to become important.
In addition, I want to comment that good acting skills can also be divided into two types, Bale and Jennifer are one type, and Amy and Cooper are the other. The acting of the former is one's own and can be extended, while the acting of the latter is a bit like that of a director or a script. Bale’s "Batman" series is similar to the previously mentioned "The Bournemouth" series. The protagonist is exhausted to lead the story. The tragedy is that he still wears a mask for more than half of the time, but if you pay attention to the passage in which Bell is shown as Bruce, He still grasped all the details appropriately. His acting skills in this film are the same as before, and will not focus on the explosion, but will lead you into this role silently and convincingly, and it is rare that this role is bold and unrecognized. The character of the city runner did not appear in his previous roles, and he did it very well. As for Jennifer, her acting skills have been recognized by a few movies, and in this film, she also shows a state different from the previous roles, exuding the temperament of a stupid woman from her bones to the flesh, she It can be seen from his own driving ability.
Cooper is also very aggressive in this film, but unlike Jennifer's all-round in place, he is more limited to the characters' exaggerated character and extremely word-count lines. Recall that you will find that Copper has been playing a neurotic role, or that his brilliant shots are always talkative, rebellious, and strong. Once he returns to ordinary, he will become a facialized role. I always categorize this type of acting as "real performance", and the difficulty level is lowered. Going to Amy, although I admired her from "The Curve Dilemma", it was more because of her pleasant appearance and sexy eyes. In "Superman", she just completed the heroine "Problem + seduce" in a satisfactory manner. As for the vase task of the actor, it seems that this movie still hasn't played out the personal characteristics other than charming. I am almost puzzled why the best actress nominates this kind of vase card performance.
Perhaps my opinion is mostly criticism, which is mainly because the overall feeling of the film is lost. But after all, I still gave four stars. To be honest, Bale and Jennifer's acting skills are enough.
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