[Slight spoilers].
"Creed" can be ranked among the bottom three in Nolan's works. The editing fully serves the plot, all the lines are manual, and all the characters are the instrumentalists who serve the plot. And as long as you understand the fact that Nolan's photographic editing in this film is completely serving the plot and fully functional, you will find that the plot is not too brainstorming. There is no need for the audience to be afraid that they will not be able to understand. The plot of the entire second act is basically explaining his time setting. If you pay attention to the information provided by the clips and footage, in fact, at the end of the first act, the two protagonists can basically guess his time setting during the fighting scene when the two protagonists enter the Norwegian airport vault for the first time.
In the dialogue at the beginning of the film, almost every line has to cut the character’s reaction shots, and in the vault fight scene at the end of the first act, there is a scene like this: Pattinson’s Neal pulls the opponent’s helmet and mask. After coming down, I let the opponent go. At this time, Nolan did not give Pattinson's main perspective or the opponent's reaction shot (anyway, he would not let the opponent show his face), and only showed the audience Neil's reaction. In fact, viewers who have a certain amount of movie watching can guess that the other party is likely to be a role with plot weight after thinking about it. In a movie that contains elements of temporal and spatial changes, there is suddenly a character with plot weight, but not directly on the camera in the early stage. You can guess the identity of the character after a little thought. As for the reversal of the final ending, it was more or less foreseeable when the theater play dedicated the close-up of the accessories on the masked soldier's backpack at the beginning.
The movie is not a logical game. When the construction of the script, the shooting and editing of the scenes completely serve the complexity of the plot, the completeness of the logic and the so-called high concept setting, the movie is destroyed. There is no essential difference between the so-called intellectual pleasure brought by "brain-burning" film and television dramas such as "The Invisible Guest", "Darkness", and "The Creed" and the pleasure that a primary school student obtains after being praised by a teacher for a certain number of school homework.
I was considered a Nolan iron fan 10 years ago. As a high school student, I would be complacent because I saw Bell's magic routine in "Deadly Magic" in the first third of the film. But with the increase in the number of movies, now I really feel more and more indifferent to Nolan. After "Dunkirk" in 17 years, he thought he was going to transform, and then returned to his expectations slightly. Who would have thought that "Creed" would regress before liberation overnight.
Hey……
Nolan in the period of "Tracking" and "Shards of Memory" feels that he has unlimited potential and will surely leave an immortal masterpiece in film history in the future. But since "Fatal Magic", he seems to have been spinning in his comfort zone. Comparing Nolan's films of the past ten years with those truly great films in film history, it always feels that he is not enterprising.
Some time ago, after watching "Eight Hundred", I reviewed several classics of war films left behind in film history. The day before I watched "Creed", I watched the Soviet movie "Song of the Soldiers" three times at home. When I walked out of the theater after watching "Creed", a direct feeling was that the messages and meanings conveyed by countless straight-forward reaction shots, quick editing, and explanatory lines in these two and a half hours were not as good as Aliao in "Song of the Soldiers". The one-minute long shot of the disabled soldier and wife that Sha met when they returned home from the station was rich: the moment when an anonymous Soviet woman stood on the platform and turned to look at the wounded couple, infinite emotion, Tension, history and pain overflowed the screen.
Now Nolan, this minute from Chukhley, is still more than half of his life.
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