I especially like the interspersed relationship between father and son in the play and the ripples between the plots, the relationship between the holy father and the holy son, the relationship between the adoptive father and the adopted son, and the relationship between the sons.
plot bug
1. That Jude Law line is weird.
I chased after a while in the middle, but if I didn't catch up, I stopped chasing? There is no danger in a child driving an injured person in one place, but where is the ability to recognize the appearance of a stranger when you see a silhouette passing by a place to eat.
The Jude Law line is also strange, and the fact that he likes to take pictures of dead people appears in this tough guy film, which feels strange and does not match the overall temperament of the film. Suddenly one more person and one more thing. And all the scenes that Jude Law appears in will be related to photography, which is too emphasized. I feel that the screenwriter seems to be particularly proud of thinking of this plot, but the importance to the plot is not bad.
2. The boss of the underworld died so easily?
The subordinates next to him are all vegetarians, and they just beat him with guns until he was killed. Freshman should also have survival instincts, can he run, escape and use strategies? Socializing on the first day? And the boss didn't have a little bit of ruthlessness, how could he let people beat him casually, and then he died. In comparison, the godfather is still great.
3. Hanks has no fighting value when he sees Jude Law?
Tom Hanks is a cold-blooded murderer. There is almost no expression in the whole play, but when he comes into contact with Jude Law directly, he has to sweat and run in a hurry. This is the killer's sixth sense, a hunch that he will eventually die in his hands?
Tom Hanks was indeed killed by Jude Law in the end. By the window, he could not see Jude Law, who was staring in black clothes in a white room.
There is the ambition of the godfather, but it is limited to the eight-legged routine. There are routines, such as the total score structure of the comparison before and after, and the money-grabbing mode of road films.
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