Need to insert another paragraph.
Suddenly feel that the current superhero movies are similar to the phenomenon of domestic small fresh meat. In foreign countries, there are always voices saying that comics and superhero movies are superficial and nutritious, but they can make a lot of money. It's similar to the domestic small fresh meat cutout acting with easy to get tens of millions. I always think that film and television is a business first, and it is natural for investors to make money and shoot quickly. In the case that original script commercial films are generally not ideal, comics provide a large number of characters accumulated over time (mainly characters, not stories, as will be described later), and interesting characters provide a basic guarantee for the film’s viewability. While the entire process chain of domestic creation and production has collapsed (bad scripts, half-cents of special effects, rough sound effects), Xiaoxianrou can provide a basic guarantee for visibility. The audience always has a demand for new content, no matter how bad it is, he can only watch this if there is no movie to watch. When investors see that people have been watching these IP dramas, they continue to copy production to make money. So at this time, someone stood up and scolded Xiao Xianrou, scolded Manchanging the movie, and was even a little impatient. I think that really good content will not be buried in comics or Xiaoxianrou. Those people who are really anxious originally produced bad scripts and bad movies, but now they don't get the small fresh meat bonus, and they can't cheat money. First of all, fast food culture will always exist, and you must face it. Second, you have to come up with really good works to fight against, rather than relying on mouths or kneeling. Third, a niche doesn't mean you are a good work.
Even if there are few films in the first two days before the release, if the film itself is hard enough, the counterattack is not a fantasy. And repeatedly crying about being squeezed into the theater by commercial films, not giving a chance. It will remind people of those petty people who always complain about social injustice and the system, and who dominate as long as they get a little power. They are not crying about injustice, but crying that they are not the party of power. These talents are the most dangerous.
Insert more, come back to this film.
Let me first talk about the two major genres of superhero movies: Marvel and DC. I am not a fan of American comics, so I can't talk about brand loyalty.
Although Marvel’s movies have been well received, I feel that they are just like the animated movies of this era. You say they are very good-looking, and that’s right. Regardless of the scene, the rhythm, the characters, and the story, it is difficult to pick out the ugly places. But what is wrong, what is it? Yes, it means "do not make mistakes." Movies are art created by humans, and anything humans do must "make mistakes", and "make mistakes" must correspond to style, because art does not have a standard answer. That's why we can see that the same romance film routine is repeated over a hundred years, and it can also produce classics. Hamlet's revenge routine derives countless angles and feelings. We repeatedly look at what those routines are for, because different screenwriters, different directors, and different actors can bring us completely different experiences time and time again. So we are willing to read love stories, break up stories and so on. Now, Marvel's movies, just like the animated movies since the new century, are becoming more stable and boring. When I say animated movies are "boring", I don't mean that they are not good-looking. On the contrary, every corner of every screen of today's animated movies is full of designs, stalks, and details of countless people. Every minute, every ten minutes of the plot is repeatedly discussed and discussed, repeated calculations and calculations. However, as the number of participants in the production meeting increases, the film becomes more and more like a project rather than a work, and the probability of making mistakes is greatly reduced, and it loses its edge and becomes mediocre. This should be the helplessness of this era of big industry, the price of wanting to produce such works is to give up the edges and corners. Just like you want to enter society, you have to put away your edge. No longer like Disney's creation of Mickey Mouse back then, unlike Xin Haicheng's independent production of Voice of the Stars.
The same is true for Marvel's films, the sad plot and the rhythm of the jokes are extremely accurate. They will never let the sadness go too far, nor will the film turn into a farce. They are well versed in the audience’s G-spot, orthodox sentiment and proper gags, none of them can be less or excessive. Marvel's strong control power can make various styles of heroes form a movie style, and they have all been well received. But what's the fun in this way? But I also understand Marvel’s approach, because Marvel built the Marvel universe, so after all, these movies are considered to be under a big framework, so it is impossible to tolerate too much difference in style. So, audience, continue to endure this style. Anyway, now there is a DC to reconcile it. Unlike Marvel, every DC film has bad reviews except for its loyal fans, but the box office is extremely high. Compared with Marvel's two movies from time to time with super high reviews but less than 200 million threshold, DC is simply a different kind. With a head full of rotten tomatoes but it can reach more than 300 million, it is his family. Compared with Marvel, DC's big problem is that they want to do a serious drama too much. I always think that these comic heroes are actually very suitable for drama, because their stories are extreme enough. With their own super power settings, coupled with a very, very, very (three times) dramatic life experience, most superheroes have the conditions to tell some extreme twists and turns of stories and emotions. Marvel uses a smoothing strategy, while DC is facing difficulties. However, the problem with DC is that in the face of this dramatic treasure, they often dig the most inexplicable places to express deepness and express dramatic conflict. It's like Costner's scene of not letting Superman save him, which can be very shocking. However, because of the previous lack of foreshadowing and rendering, Costner did not have a strong expression of worrying about humans' abuse of superhuman abilities, and could not support the reason for not letting Superman save, making the audience feel that this life and death is a bit inexplicable. DC have good ideas about drama conflicts, but they don't have the patience to pave the way.
Going back to the "Silver Guard 2" film itself, I think this film has two problems, one is that the story is not advanced by the protagonist, and the other is the problem of shaping courage.
The first aspect is the story of vol2. As the protagonist, Xingjue's presence is very weak. In other words, what the protagonist wants to do is very important, and the story of Silver Guard 2 is obviously not "what does the protagonist want?", because his dad took the initiative to come to the door and sell his cosmological philosophy. What does the protagonist want to do? Have a lifetime of happiness with your father? Even if you want to figure out why you didn't care about abandoning your wife and children at the time. Then, according to this demand, actions are generated, so that the audience has suspense. Instead of relying on Kamora's little "ominous premonition" as it is now, and then the sisters' fight and collision were discovered by mistake. From another point of view, even if you don’t look at Xingjue as the protagonist, but look at the entire team as the protagonist, Kamora should start some active investigations (instead of sitting on the wasteland) after feeling something is wrong. Angry) to be more proactive. If the protagonist of a film lacks initiative, he can only rely on scenes and gags to maintain the audience's interest. The main story of Silver Guard 2 therefore lacked the motivation to move forward, and this time it was relying on the gagging and selling cuteness between the teams that the film did not collapse. Of course there is courage.
However, Yongdu, I think it is the second problem.
Hollywood movies are now beginning to learn American dramas and start to play reversals. It happened that you thought it was impossible for the two to go to bed, so they did. You think they have nothing to do, but they turned out to be siblings. You think they are enemies, but they turned out to be father and son.
The last time the father and son was famous was Star Wars. But Vinda's image is full but relying on a whole trilogy to make up for his dramatic story.
And Silver Guard 2 wants to rely on a firework at the end of the film to make the audience shed tears for Yongdu. It can be said that it is a bit imperative, a bit forcibly +1s.
Because in 1, Yongdu is always a sub-villain. If you want to change from a villain to a heroic adoptive father in 2, you can't rely on a few beautiful words, it must be foreshadowing. Just like in so many TV movies, many villains are more popular than heroes. In addition to their extenuating backgrounds, there are also some of the personality details of the villains that are indispensably buried in them (such as respect for rules, such as Protect the weak, etc.). However, for Yongdu, except for his cloud-piercing arrow, I can’t think of a few details (welcome to remind you to fight face) to support the reason why he can’t stand ego’s cruelty to children, and use a "unique" "The fatherly way of raising a big star (and even our audience believes it in the whole 1).
Because no matter how rebellious we are, how we are intimidated and disciplined by "unique" methods. If the other person loves us, we will always remember "love". If Yongdu really "loves" tactfully as mentioned in vol2, then he will not be able to become a secondary villain in 1.
The setting of vol2 is not impossible, but it requires details and life experience. And these are what DC didn't do well at the time. It's just that DC lacks Marvel's easy coat and the fun of appropriate benefits, so that the shortcomings of lack of paving and lack of transition are nakedly exposed. The downside of Marvel's approach is that it allows investors to see that even if there are problems with the script and characters, as long as there is appropriate cuteness and jokes, everything can be covered up, the audience will ignore it, and they will shed tears over the fireworks.
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