In the evolution of Chinese-foreign co-production films, parody of Hollywood B-grade films may be necessary, but under the sign of "necessity of progress is worthy of recognition", it seems a little bit to pretend to be genuine A goods and sell dog meat. Funny.
In other words, this is the logic of "Pinduoduo" - someone else has made a fake, so I can't make it?
Not really. When the general environment needs to continue to improve, and it does continue to improve, it is also like a stubborn lack of progress, and the status is naturally indistinguishable.
I don’t know if there is shit in the mountains. Why should I go to the mountains if I know that there is shit in the mountains? If it is under the banner of youth and feelings, it will be even worse: not only to practice myself, but also to run to practice those who do not know that there is shit in the mountains. And the general public who don't mind mountains of shit.
The so-called "no comparison, no harm", reasonably speaking, whether it is a horizontal comparison ("Escape Plan 2") or a vertical comparison ("Mystery Nest"), "The Megalodon" is indeed the best co-production film in recent years, and even Li Bingbing has been the most watchable movie since 2010's "Di Renjie: The Empire of Heaven" - when you find this out, it's actually a bit weird and a bit pitiful, but considering that Li Bingbing's film career has not produced much in the first place Gao, 8 years of empty window + bad film period is not so incredible - but for Jason Gouda Statham, "The Megalodon" is just the middle of his long B-level action film career. , one of the slightly more visible ones.
The original novel of "The Megalodon" was born in 1997. Before this point in time, there were Steven Spielberg's summer blockbuster "Jaws" in 1975, and the follow-up B-level comedy thriller in 1978. "Piranha," 1993's "Jurassic Park," and in the same year, 1997, "Jurassic Park 2." Compared with the same type of monster themes, "The Megalodon" has no natural advantages, but it is also a standard material for a Hollywood popcorn blockbuster. However, it took more than 20 years for The Megalodon to become a movie.
There may be various reasons behind the late arrival of "The Megalodon", the decline of the genre, the development of CG technology, and even the right protagonist. Jason Statham has brought a certain balance to cartoonish action films over the course of his career—especially the savage "Rage" series—but his overly serious acting style has A great test for a director, and it's easy to get a movie into a boring dead end (like many low-budget killer movies since 2011). Interestingly, the split performance of "The Megalodon" also precisely represents the normality of two Jason Statham movies-either boring to death, or continuous high energy.
Still, due to the lack of novelty in the story itself, in nearly two hours, "The Megalodon" only brought half a good show.
Similar to "Sky Rescue", "The Megalodon" is also a typical brainless summer blockbuster: it is full of countless characters and plots with offline IQs, but there is no lack of shocking visual experience. But here's an important question: If this was 20 or even 10 years ago, such a (pseudo-scientific) monster blockbuster wouldn't have gotten too much criticism. But in the past 10 years, the summer blockbusters have long since broken away from the brainless ceiling, and have taken a step towards the direction of high quality and even artistic pursuit. In this case, director Joe Detduba, who hasn't directed a major hit for nearly 10 years, has brought a "real" summer movie, but it's far from an excellent summer movie.
While the level of special effects isn't bad, Megalodon has some very important structural issues. The first is the split before and after. In the first 45 minutes of the whole film, the Megalodon in the title actually lives only in the title, and even the leading actor Jason Statham has only a handful of appearances. During this period of time, the movie set up a lot of scrap characters and scrap clues, which are neither attractive nor affect the subsequent plot. That's pretty damning for a movie with action and Jump Scare as its main draws.
There was a serious lack of propulsion for nearly half of the 130-minute play. It's more terrifying than a giant stupid shark whose motives are unknown from beginning to end.
But when the second half of the movie began, "The Megalodon" became passionate again, although the plot was still stupid (Deep Sea Megalodon went to the Sanya Shoal with his life and did nothing, and the lethality was not as good as it was forty years ago. Great white shark, is it just to get some sunshine?), the bilingual dialogue is still twisted (a large number of lines in the translation accent destroy the atmosphere and do not match the character image-not to mention the large number of imported parent-child dialogues that give people goosebumps, when Li Bingbing is screaming When calling "Dad", it is conceivable that many foreign audiences will wonder why she wants to learn sheep bark), but the level of visual effects and the rhythm of actions are remarkable, and it is also above the level of similar movies.
Based on this, "The Megalodon" can be regarded as a formal establishment of a new concept that is different from "urinating spots": sleeping spots. You can literally start sleeping for 40+ minutes as soon as you come in, then wake up and watch it without missing a beat.
What would summer be like without shark movies?
Actually it doesn't make any difference. Since 1975's Jaws, Hollywood has been trying to replicate Spielberg's magic, the vast majority of which are B-movie aficionados. But it was not until two years ago that there was finally a "Shark Shore" that could be watched. Shark movies are difficult to make, not because of special effects, but because of how to find and correctly express the relationship between man and shark, man and nature, and between man and man. There have been giant spiders and worms in previous movies, and there have been superintelligent sharks in previous movies, and "you can't go to heaven" sharks. But have these movies really thought about making a high-end movie that is well-received and popular? Most likely not. To them, these inexplicable bloodthirsty monsters are no match for vampires looking for their wallets.
And people with a little common sense will see that size is never a problem, whether it will be used or not.
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