It should be said that at the beginning, the technology of restoring historical videos with satellite-scanned flat data information in the laboratory did arouse the audience's appetite, but after a few suspense, everyone discovered that it was just another "back to the future". Although purely scientific, the latter seems more difficult to achieve. But at the story level, there is too much to watch. Therefore, the film tends to be mediocre from the moment Washington enters the space-time machine.
Another reason for mediocrity lies in: paying too much attention to logical details but ignoring the appeal of character creation. The small foreshadowings that echo back and forth in the film are the notes, blood-stained cotton and so on. But this rigorous narrative style does not have a positive impact on character creation. The heroes and heroines are strangers at first, and when the story develops at its climax, the relationship between the victim and the rescuer does not seem to be advanced much-this is of course also related to the patriarchal role. On the basis of such a weak empathy, the director has to render the emotional waves of "déjà vu" in the last shot of the film. The result is naturally a failure.
On the other hand, the more successful time-space films do not emphasize the rigorous scientific logic of the so-called "traveling through time and space", but rather use it as a background, and then use vivid characters to create endless comedy bridges ("Back to the Future" ) Or simple and sincere family affection ("Black Hole Frequency") to infect and impress the audience. To put it bluntly, scientific principles and logical details are just a coat. The most important thing is to tell stories and shape characters. But unfortunately, in recent years, Hollywood genre films have increasingly shown a trend that runs counter to it. You only need to compare "Prison Break" and "Shawshank", both of which are the themes of prison break, and "Terror Cruise" and "Groundhog Day" that are trapped in the cycle of time and space at the same time, and the luxurious special effects "Transformers" and "Jurassic". "The Park", coupled with the film and "Back to the Future" that simultaneously show the shuttle in time and space, it is not difficult to draw this conclusion.
And another pair of expected violations also appeared at the end. The so-called "resurrection from the dead" used to echo the theme is absolutely intolerable. Even if the so-called "branched cosmology" can barely justify the theory in theory, it runs counter to the depressive atmosphere of the film and the heroic behavior of the protagonist's ultimate self-sacrifice. This situation is like saying that Dong Cunrui held up the explosive bag and shouted "For New China" followed by a loud noise. After a while, the hero actually walked out of the gunpowder, patted the dust on his body, unharmed... Such a story happened in reality is a surprise, but it is a failure to appear in the plot of the movie. Therefore, the ending of a film, regardless of sorrow and joy, will only play a role in adding points without violating the overall style and emotional trend. Even if you are dressed in the cloak of unpredictable cosmology, it is no exception.
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