Donnie Yen said that he had never been exposed to Wing Chun before filming, and he spent nine months practicing it. During the nine months, he went to any studio with that heavy wooden stake. After nine months, everyone wanted to learn Wing Chun. The publisher laughed from ear to ear, and began planning to prepare a sequel and prequel, vowing to become the second in the Huang Feihong series with enough effort. This is a question that the bosses should think about. Let's leave it to the table for the time being (after all, there are so many stories about Gouweixianmen). But at least, in this episode, the good reviews were overwhelming, and it was a double harvest at the box office.
No matter how good Donnie Yen’s performance is (personally even think it is his best performance in recent years), I still have to talk about Ye Weixin first. He is really the most talented and good looking director in Hong Kong I think (I have asked him countless times to get his phone number but he was blocked by the staff--||) When he went to the Dragon Tiger Gate detective class, he was so irrelevant. Sitting next to Donnie Yen, wearing jeans and running shoes, his expression is relaxed and slightly indifferent. He is so similar to Shawn Yue, countless reporters around are speculating whether he is Shawn Sha’s stand-in (that's one of the few times I am proud of myself). I walked straight to him, sat next to him and started talking in Cantonese. I remember a few words from him very much: "Wow, you recognized me at a glance." "The filming of this film is Zheng Zhaoqiang, you know him, the one Du SIR likes to use (the little chicken next to me pecks rice Like, I know I know. Then we started talking about dark flowers and so on)". After that time, I saw him at the fuse, the opening ceremony of Ye Wen, and other occasions. I even blocked him at the toilet door for an exclusive interview, and then looked at him while shaking the water on his hand with a look of astonishment: you wait, I Find the staff to arrange.
(Okay, I successfully digressed again.) In fact, in simple terms, Ye Wen's Ye Weixin finally got rid of (or controlled) Donnie Yen's fists and moderately recovered himself. The literary drama is very brilliant. This kind of movie requires both the Acura and the main melody, and it also has to avoid the scissor-hands that appear at any time. The literary play is actually not easy. And when it comes to biopics (especially if you want to avoid this character’s aura and reflect his true and ordinary, it’s even more difficult.) Of course, I’m not saying how unconventional and innovative the plot of Ye Wen is. Not at all, Ye Weixin’s success lies in the rhythm of the film. He controls the climax of the entire film very appropriately, one by one, beautiful and not boring. As soon as a fighting scene passed, he could naturally receive a family scene or a conversation with a friend. When the audience just watched Xiong Dailin’s beauty and comfort, immediately a brand new fight started again. Very comfortable. The reason why he controls Donnie Yen’s fists and feet is because he has the ability to calm Donnie Yen, and let Wuxi Wenxi go hand in hand without conflict. This should be the result of their cooperation. Donnie Yen is no longer the emperor of Kung Fu on the screen, but puts down his body and acts well. And martial arts are also good-looking. After Huang Feihong, I haven't seen such a smooth fight for a long time.
(The more I talk, the more I haven’t finished writing, I’ll continue to talk about this film next time, let me express my feelings)
Well, Wilson, I know, those vending machines, those recurring Coke cans, those constantly questioning "Do you know what you want" are actually you. It has nothing to do with Wu Zhenyu. Your cold humor (write HOSPITAL in blood, a group photo of robbers and citizens, Ye Zhun said: Dad, Mom said, if you don’t do anything, everything at home will be broken!), the gray despair in your bones ( Even the hot-blooded youth-brained comics like Dragon Tiger Gate, you can't help but want to pour cold water) are so charming. You once told me that you were very distressed about your own style. Even if you were quite satisfied with killing the wolf, you were scolded by Wu Zhenyu (I think it’s just because he is too used to burst detectives or Liang Shanbo and Julie. You in the age. Because Wu Zhenyu himself told me that he is an absolute old and stubborn.) But in my opinion, or those who really love you, these are your irreplaceable labels. You are also an old and stubborn, even though you easily said to me: "The current situation is different from before, and business is very important. Movies like Liang Shanbo do not meet the appetite of the current audience." However, you disappointed me fleetingly. Also see it clearly. But I know that you will not only belong to that era.
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