After watching "Train to Busan", I had the urge to play a wave of doomsday zombie films, and because I really trusted the level of Bangziguo's filming of this type of subject matter, I looked for this to watch. Although the flu is not a zombie, the contagious theme of this catastrophe is probably somewhat similar. It was fine at the beginning, at most the plot dragged a little bit and didn't enter the main line, but until it entered the main line, it was even more... also nonsensical. But director, after all, you're not shooting a comedy, so can't you pay more attention to the rationality of the plot? Let me put it this way, I watched South Korea's "Furnace", "Sowon", "Memories of Murder", including "Train to Busan", etc., and I felt that Koreans are shooting such social themes, exposing human nature and corruption and greed. It's really a dozen streets in China. First of all, I dare to shoot, and secondly, it is real, with flesh and blood, revealing the feeling of seeing the bones. And this one still bravely attacked the government, but it doesn't give me the feeling that the truth is torn open with blood, and the government in it can be regarded as a representative of incompetence in order to show incompetence. The president was restrained everywhere. At the beginning, he was robbed and robbed of his existence. The whole thing was like "Oh, what are you saying, it makes sense." Later, probably for the sake of stealing the show, he finally "Ah, no, I'm the president, blah, blah, blah." . In the end, it seems that Big Brother America finally sat on the boss chair with a satisfied face and smiled: "Hey, the Republic of Korea, I will not give up on you!" Hey people of the Republic of Korea, the people who shot and killed you indiscriminately before were not ordered by our government, I still treat you as human beings. Ah. Ah. And then our lovely people of the Republic of Korea actually cheered "Oh, the government didn't give up on us!" Hehe. Ah. Did you forget who shot you at that time? Who are those who burn the bodies of your relatives and friends regardless of whether they are dead or not? You have already started to retreat because of the sound of gunfire, but who is still shooting? It is the person who claims to not give up on you and will protect you now. As long as the Americans are tougher, you will be slaughtered! Oh. . Probably to satirize the relationship between South Korea and the United States? The name of the little girl, Kim Mi-ri, shouldn't have any special meaning, right? I will not over-interpret it. In short, after reading half of the article, I kept thinking, if there is no logic in filming the government as a film, can we just pass it along and not spend so much pen and ink? However, I finally realized that it was probably to satirize the so-called South Korea-US treaty or something? Speaking of characters... I think ...Uncle Rescue is like Ultraman with the halo of the Virgin? Abandoning children again and again to save the world. First in the supermarket, the security guard or something put down the gate, and then the firefighters kicked the door to save people? Let's not talk about what the gate does if you can kick the gate with your feet, let's just say... Are you shooting aliens or fog in the supermarket? Isolation is not supposed to be safe. What does he have to open the door for? Not to mention that I really thought there was some monster in the door that was going to eat people... To be fair... If the rescuers were so responsive, wouldn't they have to call him if the door to the rooftop was locked? "Hey Oppa, I'm rushing to the rooftop and jumping off the building, please come over and kick the door down, okay?" Then before the massacre, just hide with Meiri in his arms, and he didn't explain why he ran out. Ah? Maybe my intelligence is not enough and I can't reason why he went out. At that time, there were bullets everywhere. Did he run out to help others block the bullets or block the muzzle? Everyone who wants to hide from bullets has their own legs to hide. Even if he is shot by bullets, he is not a doctor and has no bandages. How to deal with it? He ran out without looking at the situation outside. Who was he saving and how? Or did the rescue team have a riot and couldn't go out to shake their conscience? As I was at a loss, I thought, let's see how the director wrote it, but I didn't expect the rescue uncle to come back in ashes when the camera turned? Please explain what he did when he went out? I am really curious! And then I don't understand, at the end, when the ambulance carrying the male protagonist's buddy drove over, did it stop for Mao? I thought it was looking for Dr. Kim, but when the door opened, it was actually the rescue team? A look of confusion... Hey buddy, aren't you trying to rescue, why do you still have to say hello when you meet an acquaintance on the way to rescue? Okay, you are enthusiastic when I didn't say it, then how did you see your buddy feeding the dog food outside through the roof of the car when you were half-dead? He even called the ambulance to stop... (⊙﹏⊙)b In addition, the mighty uncle in "Train to Busan" actually played a villain in this film! Speaking of which, it's another routine...a selfish protagonist (the male protagonist in "Train to Busan", Dr. Kim in "Influenza"), a selfless and spiritual protagonist (the hero in "Train to Busan" The homeless and the mighty uncle couple, the rescue Ultraman in "Flu"), a round-faced villain who likes to push his companions out to block guns for himself and incite the foolish people to vomit watermelon seeds ("Train to Busan") The man in the suit, the mighty uncle in "Influenza"), and then there is a group of melon eaters who spit watermelon seeds on others without thinking as soon as they are incited Everyone... So I'm getting more and more bored looking at it, so I got two stars. Excuse me. Oh, by the way, I always feel that the director seems to have a lot of desire to be emotional, but there is too much backlog of internal complaints, and I don't feel the tears. The look and feel of the whole film is not as shocking as the human nature of the classic type films. It is to capture human nature and human nature, to capture incompetence and incompetence. The theme to be expressed is not subtly and meticulously integrated into the theme, but it is almost unfolded in the form of straightforward preaching, and even whether the plot is reasonable or not is no longer concerned. Put the cart before the horse, so disgusted.
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