. The most praiseworthy place in this film should be the brown child in the tomb, the black donkey's hoof, etc. can be presented on the big screen, and the original party feels enjoyable. But the question is, can these things be presented, is it really a victory for the film itself? I can't help but think of it. Some time ago, a representative was digging a basement at Deshengmen, and the road collapsed. Although he was not digging graves, is there any similarity between these two arrogances who think they have a kind? where?
I think this book and movie will remind me of Guo Degang, who also dug up antiques to fight against new things that are not pleasing to the eye. The new ones are not good, but can Guo's reintegration of the old jokes really lead to a new path? This does not involve the temperament and character of Guo Degang in my eyes.
Speaking of the Dragon-seeking Art, I have no sympathy for Wu Dao, nor any malice. To put it in my own words, he is a clean version of Wang Jing with a beard in appearance. The bad thing about Wang Jing is not because of his appearance, but because he doesn't mind standing still. An old stalk can be used repeatedly, and he can be at ease with mediocrity, just like a piece of chewing gum that can be chewed for decades. It doesn't even matter if it's still warm in someone else's mouth. He once said that if he can shoot well or badly, it only depends on how much money is paid.
It's not the attitude that's wrong, it's the impossibility. A director who has no requirements on himself will become a kind of thinking inertia, not just by thinking well.
And Wu Dao also said recently that this film is just the beginning of the industry, as long as it is qualified. I don't think this is superficial humility, but something similar to what Wang Jing said.
For the time being, let's not talk about the theme and character plot that anyone can say a few words about.
The quality of a comedy point can have nothing to do with money and industry, and even the ingenuity of many special effects has nothing to do with money or industry.
Comedy points can be cheap and high quality, and it is easy to understand. As for the special effects, I will give an example of a mummy. Although from the current point of view, there are many problems with the director himself, but there are still many blind people in the film can watch it. Out of the flash.
After the resurrection of the villain priest in the film, there are still loopholes in the face, generally only a hideous image can be achieved, but there is a short scene in the film, which can become the iconic picture of this series and be remembered forever.
It was a bug that crawled up his face, from the hole into his mouth, and he chewed it twice. This special effect is a piece of cake compared to the monster battle or the big tomb scene, but it is very cleverly designed. If the priest actively eats the worm, it will feel disgusting. Now the worm actively crawls into the mouth through the loophole and puts The characters and characters, the whole atmosphere, and the so-called bad tastes are explained in an uncomplicated picture.
But such a design can't be seen at all in the Dragon-seeking Art. And what's even worse, you can feel through the screen that the director of the film doesn't want to come up with such an ingenious design at all, and he can't even see a little bit of ambition. This may be the so-called pursuit in Wu's talk. .
The martial arts of this film are very careless, there is no good-looking and ingenious design at all, maybe it is because I don't want to repeat the Hong Kong style. But don't want to repeat it, it doesn't mean that you just come up with a few common tricks, where are your own characteristics?
The special effects are also, except that Chen Kun wants to break through the space and smash the transparent objects into pieces, which is a tribute to Wanted, there is no originality. I don't think this kind of evaluation is forceful and mean.
The only place where the film is flooded is the scene and art design. I find it hard to believe that a director with persistence and personality will be "kidnapped" by the art design to the point where he can't find the North. To put it more ruthlessly, it is the kind of person who can't even find his own coffin in his own grave scene. Feel.
I think the industry has put too much emphasis on the role of art and modeling design such as Zhang Shuping. Because movies are, in a way, the art of attention, and what art often does is to distract you.
Hitchcock has become a mountain that may never be surpassed because of his unparalleled talent for controlling audience attention and creating an atmosphere of stare.
The Dragon Searching Art gave me such a bad impression, and even gave rise to disappointment, or even a little bit of despair, because it is almost difficult to find unique places in every detail of the whole film, which is a very scary thing.
I have always felt that the Di Renjie series, if there is no Chen Guofu, may be discounted, and now I can only think in reverse, if Di Renjie does not have Tsui Hark, it is estimated that it will be mediocre to death.
Hong Kong has gone too far, and the United States has made breakthroughs. This urge to constantly seek new ideas is the driving force behind the continued existence of the film technology. This is not directly related to industrial special effects or anything.
I had to invite Zhou Xingchi out again, because I really couldn't think of anyone else.
I have always emphasized that Zhou is very good, but also because others are too bad. Stephen Chow has the bottleneck caused by the previous Hong Kong film production model, but he has one advantage that no one can deny, that is, within the existing possibilities, he can do everything better, even if it is only a little bit better.
And this kind of quality is completely invisible in the movie "Long-hunting Jue". The producer and director of the film are undoubtedly people who have no sense of humor and do not know how to make comedy, so Huang Bo and Xia Yu have become the comedy responsible for the film, which is another huge disaster.
When the main creator lacks a good sense of humor, the result is not just that the joke is not funny, it is a kind of overall temperament, which will turn over the darkness and fear that everyone has inside when encountering resistance and bottlenecks. The screen takes some unnecessary extremes as a breakthrough of self, or takes a bottom line of self-lowering as a matter of taking care of the public's taste.
The overall temperament of the Dragon-seeking Art made me see a kind of despair, a kind of despair that should have been artificially created from the starting point of hope. To use an exaggerated analogy, it is like interpreting the Chinese dream as, as long as you can dream big in an unknown grave, eat brown and donkey meat, engage in gossip and other Chinese studies, and then kill the Japanese. A small nap, and finally get a kind of immortality and love that may be an illusion, and then have the money to buy his own coffin, the dream is complete.
View more about Mojin: The Lost Legend reviews
