In fact, I was a little disappointed with this film, it could have been better.
First of all, this film reminds me of Martin MacDonald's "The Killer Has No Holidays" earlier. It has an absurd taste of the causal cycle. This film may imitate, that is, all the results of YOYO are made by himself. Yes, every comrade-in-arms died because he wanted to be a deserter.
But the question is this, why does his comrades feel that he is obedient to him? (At least that's what I think) The relationship between them is not very foreshadowed in the play. It is difficult for me to remember all their names. It gives the impression that there are good times and bad times between YOYO and them, it's not special Intimacy, then their death will not have the kind of moving feeling.
The only time that really touched me was the death of Clevinger. Although he seemed to be at odds with YOYO all the time, he had been through thick and thin before, so I was more impressed by him, so his death touched me.
The opposite is that Milo, I never understand why they are so close.
And their death should give YOYO some thinking and some changes, but YOYO just wants to escape more every time. I feel that this kind of imitation is not very effective.
Another problem is that YOYO's role is too large, which directly leads to the lack of foreshadowing mentioned above. Moreover, I don't like the character of YOYO, because what he did is completely selfish deserter behavior, there is nothing to justify.
The most important thing is that you have given so many scenes, what do you want to express through this YOYO? Do you want to say don't be sloppy and want to be a deserter, because you will only suffer for yourself? But why give YOYO a line that seems to make sense? Why did YOYO run away so persistently?
When YOYO returned to Rome to find Nately's fiancée, he encountered a choice, whether to seek justice for an innocent Italian woman who was raped and murdered or to go home. I think this is a very interesting and theme-related bridge, but it was taken away by one stroke. That is to say, I could dig deep into YOYO and dig deep into the theme, but I didn't. This makes his previous passages in Rome almost in vain, and the subject is very vague.
Moreover, even if these are not done well, at least there is a real war scene with blood and flesh to make a strong scene, right?
In the final analysis, this film is still too mini. It is said that although the sparrow is small and has all the internal organs, the sparrow is after all a sparrow and cannot become a peacock.
View more about Catch-22 reviews
