Many soybean oils provide a perfect score of 5. In fact, overall, the film's problems are still relatively obvious. Logically: 1. The God mode chosen by the killer is too strange. Overall, there is no obvious mistake in Stu. He just likes to lie. He does his job by lying. He seduces young women outside, but he seduces other women. , he still takes off his wedding ring out of guilt. Especially compared to the other two deceased people (cheating investors' money, selling arms). 2. The death of the brothel owner and the pizza brother was too unreasonable, and the killer lost his pursuit of justice and judged the meaning of life and death of a stranger in his own way. The movie does not explain why the pizza guy and the brothel owner were killed.
In terms of film technique, the biggest problem is in the second half of the film. Because more clues and characters are involved, the habit of calling that was maintained in the first half of the movie cannot be continued. When the camera is pointed at the police, the conversation in the phone booth can no longer be heard, and the continuity from beginning to end is lost. There are two solutions: 1. Using cross-cutting, the camera goes back to the stu and the killer, which makes it appear more coherent. 2. The rhythm of other clues is more intense, and the editing rhythm is faster to ensure that the rhythm of the second half of the film is not out of touch.
In fact, there is also a god mode in "Seven Deadly Sins", but in "7", the genius killer killed not one person, but seven people. Because of the existence of the seven deadly sins, his murder clues become more reasonable and reasonable. acceptable. Another reason is that everyone in "7" has very prominent and prominent characteristics. For example, the gluttonous person cannot be removed from the dining table because of his obesity. Compared with stu, his ability to deceive is in the eyes of the audience. So common that audiences are reluctant to accept his threats.
If the movie gave stu a more serious behavior or consequences for his behavior, and gave the pizza boy and the brothel owner a reasonable cause of death, then the logical background of the movie would appear more complete. After all, from start to finish, we didn't see a reason for the two of them to die for no reason.
In a one-act play like this, the most important thing is to make sure the thread continues without giving the audience any possibility. The movie is done well enough most of the time, for example, at 22 minutes, the puppet is destroyed; at 25 minutes, the brothel owner is beaten to death; at 30 minutes, stu secretly calls 911 and is monitored; at 32 minutes, the police enter the scene; at 56 minutes, The killer told Stu that the pistol was on top of the phone booth. All escape methods that the audience can think of are avoided by the director, so the audience can only be taken away by the director.
Of course, there is still a loophole in the plot. When Mrs. Kelly arrived at the scene, she did not tell the sheriff the details of the prank call she received in the morning, so that the police have not been able to track the phone to find the man who died in the hotel. The pizza boy, thus delaying the possibility of Stu being shot by the police and being rescued. This is also where I regret.
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