The plot is good, it's really good, and the whole body is full of the smartness of the Sichuanese, which is not only a petty citizen, but also has great wisdom in it. The beginnings and transitions and bridges are actually not complicated, but the writing is no longer clever, only on the big screen is it fresh, like a small fish leading you to run forward.
The actors are good, I just like the grass-roots smell on them. Several thieves have their own characteristics. I love each of them. Whichever one holds in my hand is a treasure. I feel that mainland thieves are just next door neighbors, and it is definitely not the original intention to be a hooligan, but it seems that it is a pity not to be a hooligan because people are really smart. The Hong Kong thief actually thinks about some dark humor. He teased the police and gangster in the "Infernal Affairs"-like drama. His cool demeanor, complete equipment, and vigorous skills all became the last cold and humorous one. The burden is like climbing a mountain for a long time, but the top of the mountain is a public toilet. The dog's legs are fine, the pair of glasses, that kind of eyes, as if Haraz is about to flow out anytime, anywhere, and he is also ready to turn his face and not recognize anyone anytime, anywhere. If I really want to be picky, I think it's the boss played by Xu Zheng. Maybe because of the Mandarin, I always feel a little less energetic. The scenes of the beaters are most reminiscent of Zhou Xingxing and Japanese animation. What is this nonsensical performance? It's too old-fashioned to say.
The music is good, the four little swan dances in various variations, I just found it interesting when I read it, and now I think about it, I'm talking about the four thieves in the Greater China region! Wonderful, really wonderful! There is also the sound of the gong, which I don't know if it is a Peking Opera or a Sichuan Opera. Listening to each one today, coupled with the black shadows flying around on the screen, it feels like an old tree is growing new branches!
The camera is good. In the scene where the young man picks up the girl at the beginning, it is a close-up and a distant view with flowers on it, and the overhead shot and the upward view are alternately performed. It can be seen that the director and the camera are very thoughtful. This kind of thought is in "Searching for a Gun" " have seen. It doesn't mean that other domestic films don't pay attention, but I always feel that many directors don't know what films should be used and what films should not be used.
Well chosen city, I want to go to Chongqing even more, I want to go to this city where I heard that there are many dogs, I want to go to this city that is a bit like Japan, but I want to go to the city where Li Yifan, the director of the documentary "Submerged" grew up. Go to the birthplace of the vivid "Chongqing Language" written by honeycomb, and think about it!
The last thing I want to say is that in the process of watching this film, it reminded me of Zhang Xiangfeng, the little brother I met in Nortel in 2004, a prospective filmmaker who grew up in Shanghai and went to university in Sichuan, and one of the directors of "Balance Doomsday". . Until now, I can totally feel those sleepless nights, sitting in the smoky foreign student dormitory with my brothers and sisters in Beijing, Shanghai, Sichuan, Xi'an, Hunan, and talking about movies, and the one I heard. A story about landmines in the same vein as "Crazy Stone".
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