The genre is a little weird, it's a family ethics drama with a little thriller and a little violence and blood. It's really a somewhat confusing piece of work.
First of all, it's definitely a Judy movie, and she's doing a really good job in it!
The plot of this film is mediocre, and there is nothing outstanding about it. What is really good is the performance of several protagonists and the camera editing of director David Fincher.
Meg, played by Jodie Foster, rents a new Manhattan apartment after her husband cheated, a bit of a family ethic drama. At the beginning of the movie, the director realized the emptiness of the villa with several long shots, creating a sense of horror and beginning to pave the way for the horror plot of the movie. Judy's appearance makes people feel that this is a resolute, courageous and slightly nervous character, which is also in line with her previous character characteristics. The first place where the film focuses on Judy's acting skills is shortly after the beginning, when the real estate agent introduces Judy and his party about the secret room in the house. The introducer is introducing the steel door of the secret room and closing it.
"Open it please."
Judy's breathing was a little short, her tone was low and firm, showing Meg's self-cultivation and tension. It can also be seen from here that Meg was claustrophobic, which paved the way for the following plot.
It's not over yet, the second time.
"Please open the door."
Again, the tone was low, revealing unspeakable boredom, gradually losing the ability to maintain self-discipline and patience.
"Open the door please!"
Once again, the tone of voice is almost impossible to find the so-called politeness, and it brings out the anger and inner panic that are about to erupt. Judy perfectly expresses a sense of progression with three basically the same lines, so that the audience can clearly feel the step-by-step accumulation and final outbreak of the emotions. Judy's acting skills are evident, praise!
Let's start with a small detail. The company that moved the mother and daughter is called "Mayflower". The first immigrants to the United States came from the North American continent on the Mayflower, and most of them were Puritans persecuted in England. The setting of this plot suggests that the mother-daughter move is of a sanctuary nature. The latter plot shows that Meg's husband is divorcing Meg because of an extramarital affair, which is, in a sense, refuge.
When the gangster appeared outside the villa, the director used a super long shot. This long shot is very well used, it truly reflects the activities of the gangsters outside the house, and the plot is presented here coherently. David Fincher's ability is reflected here. One of the characteristics of this film is that long shots appear many times, and each time there is no sense of falling, the director's skill is evident.
The plot progresses to the point where the gangster enters the house, and Meg and her daughter hide in the secret room. At this time, Meg, claustrophobia was completely suppressed by the motherhood of protecting the child. The mother who protects the child is the lioness, and the gun-wielding fight against the gangsters at the back is a good example of this. Judy's performance here is also very good. Judy captures the nervous, anxious but calm facial expression that a mother should have at this time. At the same time, it also shows all the almost frenzied anxiety, screaming in despair, nervousness, and depressing outbursts of the mother at this time when she encounters obstacles that are difficult to solve for a while, and the performance is insane!
Meg's way of rescuing her daughter is very interesting. The methods she used to force the gangsters out of the secret room are very similar to the methods used by the gangsters to force their mother and daughter, but they are always more clever than the gangsters. The way of the other person is also applied to the body, and there is nothing worse than that." Isn't this Murong Fu! The director's arrangement also reflects the Buddhist idea of "karma and retribution", and the plot of the three evil people who get their revenge one after another also reflects this idea. Evil has evil retribution, and the retribution of punishment will definitely be imposed on the person.
It is necessary to talk about Burnham, one of the three gangsters. He is an ordinary insurance company clerk who wants his daughter to live a happy life, suffering from being at the bottom of society and unable to change the status quo. He became a gangster because of greed, so there is no need to say more. What I'm trying to say is that Burnham says "You'll be OK" to Meg's daughter twice in the film, first after he's given Sarah's glucose injection, and second when he and Ulla After the building, before letting Sarah go. The second time, the head, who could have escaped with tens of millions of debts, turned back at the last minute and shot Ulla, becoming the savior of the Meg family. Ultimately, Burnham is captured in front of the low wall, completing his self-redemption.
The movie ends with Meg lying on a park chair with her daughter, and Sarah reading the news of the house for sale in the newspaper. After Sarah had read several large houses for sale, Meg said "Do we need a house that big?" Such an ending raises the question, "How much space does one need?" Again, there is the issue of the real estate market in China. In a country where there is no such thing as nothing, the question has to become "how much space can a person have?" There is no need to say more about it, everyone understands it.
Going back to the movie, Meg asked such a question, which obviously led to the answer, "A warm little family is enough." So far, the movie has returned to the category of family ethics drama.
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