[And one more star for JR as a fan]
I give TDK an A+ score, TDKR is A-, and Spy Shadow IV is B-.
The first reason is that Spy Shadow IV is too cumbersome, and some parts of the dialogue in the house can be shortened. If I edit it, maybe I will not follow its own timeline and cut at least 20 minutes. And I agree that there is not much action, and it even makes me think this is a literary film.
The interaction of the protagonist is worthy of recognition. 4 only focuses on the overall situation. Norton's role is not light, but the story itself does not tap the background of the protagonist, but I think it should be paving the way for the next episode. At least I see that Norton (Byer) and JR (Aaron) characters have a lot of room for digging.
But it's like a book that only shows you a preface, and it doesn't feel good. The director is saying "I'm playing a big game of chess" throughout the film. Of course the audience knows it, but what the audience wants to know more is where you are, you have to show us, not tell us. Even if you are going to shoot the spy movie to 8, the key point is that your story must have an exciting point. Although the film has a lot of small climaxes, it all ends at the beginning, and you are about to cheer when a basin of cold water pours you , very disappointing.
In a good story, the protagonist must have a unique personality, whether it is good or bad, it must be three-dimensional. In Aaron cross, I saw a tenacious will to survive, but that's all, I feel that there is still a big gap in this character and that the director (or screenwriter) deliberately gave up because he wanted to emphasize the overall situation, whether it was Byer The conversation with Aaron or the video of Aaron, followed by stories that haven't been told or even started, and I don't mind those stories coming up in the next installment, but I think this one's stalled and deliberately emphasized those stories. The overall situation of the film has become a serious weakness of the film to a large extent, and it is absolutely very reasonable for the audience to attack the script for its weaknesses. If the three protagonists are neither good nor bad, then at least they should deal with the relationship between the characters more seriously, the dialogue between them, instead of making them feel dispensable, the impact of this event on them, Or the changes that are induced are not enough to allow the audience to understand the characters more deeply and feel more deeply about them, or to have a greater favorable impression of the story, which means to bring interest to the story. And I feel sorry for the actors, because their good acting skills are not fully utilized, at least 80% are kept out of the script.
In terms of entertainment, this film can't compare to MI4, and in terms of plot appeal, it's not comparable to TDKR's 3-week-old TDKR, this film is indeed a new beginning for Spy 4 (and Mark Damon does not. It must appear in this work), although my personal impression is not enough, I hope my guess is correct, the director buried the bomb in the next episode.
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