(7.0/10) There is no background introduction, and the addict Ben is placed in a happy family without him directly in a peaceful Christmas atmosphere, and the audience deprived of God's perspective is disturbed to witness the tense atmosphere. Spread within the family. Getting halfway into the story and hiding key information can go a long way in grabbing the audience's attention in such a less conflicted subject matter. Confessions in a mutual aid meeting reveal the underlying context, and once the audience is clearly drawn into the tension, the conflict can develop with confidence. Mutual aid girls, church mothers, teachers, childhood friends, drug dealers, and all kinds of people who appeared in turn gradually unraveled the veil of the past, the level of conflict escalated step by step, and the audience was able to fall into the final desperate situation together with Ben's mother. The whole process of looking for a dog in the latter part can also be said to be a process of finding the key to repairing the family. A family without a dog is not complete, so the real homecoming is a prerequisite for leaving home (looking for a dog). In the end, he broke the law again for the dog. Although he was guilty, the purpose this time was redemption. Designing the background of the story at Christmas also serves two purposes. One is that the isolated geese need a reunion festival to set off, and the other is that the origin of this festival is because someone was born to atone for the sins of the world. Another point worth noting is the two appearances of the pharmacy. The combination of the cruelty of the anxious mother and the disregard for the delinquent youth is a metaphor for the degeneration of modern technology and the entire modern world, which is more in line with the film's slightly strong religious atmosphere. Certainly. Roberts deserves more recognition than he does now. All the action shots seem to use a different kind of camera, with bad afterimages.
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