(Not a serious film review)
At the beginning, I didn't expect much from the core of this film. After all, Hollywood can make action movies with good visual effects. So I don't discuss the plot aspect much.
However, visually, this film gave me the feeling that groups of people with different aesthetic levels took a few scenes, and then edited them together to form a movie. The visual effect goes up and down, which is indescribable.
Let me talk about the part I like first: Hong Kong on a cloudy day is really a deterrent. The scene chasing a truck driver in a dense building complex is my favorite; other scenes filmed on a cloudy day also have a calm deterrent effect. The second is the Li Detun public housing of the spiral building that once appeared in the realm of the sky-for a fan of weird architecture like me, this is a hit in the bullseye. (I really want to go back to Hong Kong...
Then talk about the part you don't like. The first is the unrestrained use of high-saturation blue light. This kind of light is one of the representatives of Hollywood soil turtle special effects. You can compare the night scenes of "Blade Runner" with the night scenes of "Ghost in the Shell".
Compare the color matching of the original street view with the color matching of the live-action street view:
Look at this interview with the special effects studio :
In Territory's view, such a workflow requires them to consider all the elements in the story in order to create a concept suitable for this overhead future world. From another point of view, they can also "carry private goods" in the design process, such as copying the automatic color matching, original hemp leaf fabric patterns and quicksand patterns, etc., so that this Hollywood-made movie will not leave it. The root is too far away.
"Copy the automatic color scheme"? ? Is your team all color-blind... Can these two color schemes be the same... This kind of highly saturated bright pink and bright blue that appear frequently, won't use Oshii Mamoru to death...
It was the scene of the end of the battle. The aura rose only after the abuse of light and color was suppressed. And as mentioned above, the cloudy landscape is good.
I can believe that this studio really loves the shell. But for various reasons (whether the spiritual soil of the United States and your island are different, or the style and ability of the studio, I don’t know and don’t want to go into it), はずれた.
There is also the scene where Suzi sinks into the water in the night. Audiences who haven't seen the original will probably like it very much. In fact, I also like it, especially when she says, "……何もない" when she gets on the boat. (In addition, the original technology-heavy boat was changed into a Hong Kong-style fishing boat in this scene, which is not bad...)
But the scene in the original work is at dusk.
How to say it, the difference is really subtle. In my opinion, cloudy skies and dusk test the director's control more than night scenes. Because the night can be displayed in a wild form: the neon is gorgeous under the night, and everyone explosively releases their desires, so the shooting can be very good. The cloudy sky and dusk must be temperate: you can't use excessively gorgeous special effects, can't use colored lights, and can't even express feelings excessively. It's only suitable for depression.
The director chose to bypass the dusk to shoot the night scene. It’s not a bad shot, but it's surrendering!
To admit defeat to Oshii Mamoru.
(And why are there so many jellyfish in the water? Okay, it doesn’t matter...)
There is no need to mention the music, only the puppet ballad is used when the staff table is flowed at the end, and the bgm is inexplicable in the middle.
Let me say so much first.
I miss Ridley Scott so much.
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