From my personal point of view, Wu Yusen is as boring as ever. His fascination with violent aesthetics makes him hesitate to move forward. He is obsessed with repeating himself in some mirror images that have made him famous. Double guns, slow motion mirrors, churches, and white pigeons were all copied, except that Hong Kong was replaced by the United States, Fa Ge was replaced by Travolta, and Li Zixiong was replaced by Cage. In the first battle of Sean’s arrest of Kans, Wu Yusen couldn’t wait to repeat the same trick. Kans, armed with golden double guns, flew out of the car and shot in anger. The lens was still so beautiful and it was so exciting to watch, but Old Wu was so unscrupulous. The original cloning of his is really doubtful of his creative power. Of course, Hollywood's abundant funds make it possible to play some new flower work, such as the big scene big explosion required by Hollywood directors. Old Wu is also ruthless enough. He is tired of crashing and speeding. He drove a plane and hit his mother! So, in the first few minutes we watched the arrogant old Wu ruining a plane of the old Americans alive. Such a big deal can be regarded as a glory for the people of the country. The Chinese are not all greedy for petty gains. We burn money. Not worse than others. Later, Travolta and Cage pointed at each other with two guns on the background of war. It was a typical Wu Yusen model. The personal charm of the two casts made this scene brilliant. Cage's smile and Travolta's toughness set off a perfect force field, making it the climax of the film. In the last battle, Lao Wu produced a big picture that Hong Kong films lacked. In the motorboat chase scene, the first high-altitude aerial shot was really pleasing to the eye. The two white water lines on the azure blue water gave a big picture of the atmosphere. In the end, the motorboat hit and flew, and the two of them also flew high into the air. The big scene and the small sentiment are perfectly blended, and Old Wu has really crossed the barriers of out-of-port movies and walked into the big forest of Hollywood. When the statue of the Virgin in the church appeared in the camera, I laughed dumbfounded and deepened my understanding of "a director can only make one movie in his life". In the subsequent shootout, a series of Wu Yusen elements all appeared on the stage, and it was not without innovation. This time there were a few more gray pigeons. It is worth mentioning that Wu's character appearance mode, windbreaker sunglasses and slow mirror, and the courtesy are often the underworld elements. In the past, it was Fa Ge's pony, but now it is Cage's Kans. The first time, before the plane crashed, Cage's mannerism was a bit exaggerated. In order to be cooler, he even opened his arms without knowing the so-called. Then before the church shootout, this time there is no windbreaker, black suit and sunglasses. Of course, slow motion is inevitable. Wu Yusen's habit of this scene shows his aesthetic superficiality. Of course, this is an approach that caters to the public. It is understandable in order to sell well, but it is really tasteless. What about the beautification of gangsters? Maybe it was childhood in the shanty town Due to the memory of generations, morality and justice still existed that year, and it is not impossible that there will be a few characters like Brother Xiao Ma. The public's relish and even awe in all of this demonstrates the loss and confusion of the values of the commodity age. A similar problem is Wu Yusen's violent scenes. This is its signature dish. Many viewers buy Wu Yusen's account because of this bite. This is a deeper sorrow that involves the deep-rooted animal nature of human nature. People have violent instincts and desire to destroy. Although they have been constrained by civilized society, they will still show up when they have the opportunity. The endless explosions and shootings in Wu Yusen's movies cater to these dark sides of human nature. In fact, Wu is not alone in the director who is addicted to violence. The foreigners play even better: Quentin Tarantino asks Uma Thurman to chop his head and feet and arms in [Kill Bill]. The fountain spurted from the wound, and the extreme fascination with violence was naked. `Wu Yusen also has a bit of Chinese subtlety, wrapping it under the appearance of formal beauty, and Pi Zikun’s aesthetic principle is: to exaggerate and enlarge the violence in reality artistically, so that it produces a dazzling and stimulates adrenaline secretion. The audience can almost hear him shouting from behind the monitor: Exciting, stimulate more!
Finally, I will talk about the performance of the actors according to the law. Cage's acting skills are recognized by the world, and the identity swap in this film provides an excellent platform for him to display his acting skills. For example, when he got together with bald guys and others after breaking out of prison, Sean said, I know his password, which is his son's birthday. The bald guy asked, how did you know? Sean had to say against his will that I had fucked his wife. Cage's expression in this scene was at first a forbearable pain, and then it gradually turned into a crazy laugh, and the rich layers of changes during this time were shocking. Also, I deliberately provoke the prison guards in order to take off the iron shoes. After being beaten by the police, they still held up the snatched cigarettes and shouted, light me up! Light me up! His emotional madness is very contagious. Compared with Cage, Travolta is much more mediocre. He is more than capable of performing cold and evil, but the level and richness of the performance is obviously not comparable to Cage. As for a supporting role, I haven't seen any outstanding performances. I just completed the task step by step.
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