Xiu Tian Fan must admit, I kind of like Matt Damon (Matt Damon).
Although this guy has always worked hard, and has been very capable from the beginning, he is very low-key, not as arrogant as his horse-faced "little" buddy... Such character and achievements, I am early I should like it. It's a pity that his face... is hard to call handsome. And although I am not a serious nympho, I would probably still prefer D to handsome guys, so I have always been biased towards "Little Ma"... I can't help but I'm so vulgar.
Fortunately, my hobby of "watching movies without watching people" has improved my position in my heart because he has starred in several of my favorites in recent years: "Syriana" (Syriana), "The Departed" (The Departed) and "Ocean's 13" (Ocean's 13), each has a wonderful interpretation beyond my expectations, so I realized that this buddy is indeed a versatile acting, with unlimited future. In order to flatter him, I think it's time to "fan" him.
I used to say that he was "stay" because he was not too much in terms of facial contours or acting style. For this reason, I have been slammed by the fans of "Little Ma". In fact, I am not alone in saying that he is staying. The always exaggerated "Team America: World Police" directly said that he was "mentally handicapped". It can be seen that Dimon's "stay" is well known.
However, Lao Tzu said, "Stay can be stupid, very stupid." The key depends on the level of interpretation. "Stay" can also become very "lively". What's more, from the perspective of "minimalism" and the so-called "naturalism", "stay" is worthy of praise, and it is a kind of "reaction" to the overly dramatic tendency in Hollywood's performance model. Are spies in real life really as arrogant and self-proclaimed as 007, or as expressive and provocative as Eisenholt ("Mission Impossible" series)? not necessarily. The charm of true spies is that they are in a delicate balance between extreme "normal" and "very": only their appearance can be hidden in the city; only their means are extraordinary, before they can succeed.
Dimon in the "The Bourne Shadow" series is a perfect reproduction of the above dialectical relationship. After seeing his performance in the series, people will agree that "the performance is really amazing." Because, on the surface, the wood-faced Dimon of Mukou is no different from the famous "stone men" in the history of action movies such as Stallone and Stephen Singer, but the destiny of "Bonn" is more lethargic than "Lambo". People worry about it. The charm of this role, of course, has the credit of the ingenious script, but it is also inseparable from Dimon's wonderful interpretation. He seems to be "introverted", but he is actually casting a "black hole" temperament, so that once the eyes of the audience under the screen are projected, they cannot escape. I like this tune. To put it shallowly, it makes the screen characters more real and kinder; when it goes deep, it injects fresh and natural artistic showers into flashy commercial action films.
Of course, not everyone agrees with Dimon's introverted version of the spy image, just as not everyone sees the value of subtle, soothing, and blank film techniques. However, I still can’t imagine that someone would make irresponsible remarks on the action scenes and plot rhythm of "The Bourne Ultimatum"; in my opinion, this film is the pinnacle of Hollywood fashion action movies in the past ten years. Basically, it is difficult to pick out the fault.
Now three-year-old children know to put "rhythm" on their lips, which means that everyone knows that action movies cannot blindly seek "violence", they must have ups and downs, static and dynamic, slow and urgent, so that they can be played. A stimulating and catching melody; rarely an action movie with a rush to the end and a rush to the end can be successful. However, "rarely" does not mean "no", but just means that it is very difficult, and it is beyond the control of directors who have big ideas in their chests. It just so happens that Mr. Paul Greengrass is such a capable person, so "The Bournemouth 3" can be regarded as a successful model in the history of action movies.
Someone reminded me that in fact, the second episode is also very fast, and it is almost "non-stop" from beginning to end; but in my impression, there are still some pauses and sensational episodes-even though those episodes are short, so short The impatient boys don't want to pay attention at all, but in the intention of the director, it is to be regarded as a soothing chapter. By the time "The Bournemouth 3", all the lyricism has disappeared, and it can be said that the "sentimentalists" are desperate to death. This is not to say that because Bonn died in the second episode, and he is an honest man, so there is no emotion in the third episode. In fact, everyone seems to have forgotten that since the first episode, there is a big face MM on the CIA, who seems to be a little unclear about Bonn. In the third episode, they are even more "unclear": through the choreographer's hint, the audience can clearly guess that they may have "one leg" in the past. However, the "bad" choreographer is bad at keeping this "unclear", and their brilliance lies in deliberately not revealing it "clearly". In this way, the ambiguous feelings that seem to slow down the rhythm have become the most breathtaking classic passage in the middle of the film under the plot arrangement, making the relief suddenly become intense, and the feelings actually promote the action. The seemingly incompatible transformation is done naturally and precisely in the movie.
So, what makes an action movie that is tense from start to finish can avoid the final "tiredness" of the audience or the "amnesia" after leaving the theater? Movies are originally the art of "illusion", but the essence of this kind of film is optical and physical; the greatness of "The Bournemouth 3" lies in its successful use of psychological illusions. This sounds simple, because playing with suspense is to create a psychological illusion, and this technique has been disabled by the classic masters. The psychological illusion used in "Spy 3" basically has nothing to do with suspense. It is mainly not an illusion involving "cognition", but an illusion involving "experience". In short, it is to make the audience mistake "psychological tension" for "rapid pace." In fact, the film has slowed down the rhythm in many cases, such as the plot of different opinions within the CIA. It's just that these "slowdowns" are precisely on the "mouths" of suspense, so the slowing down of the narrative rhythm will increase the tension of the audience experience.
On the other hand, for viewers who like to watch the effects of action scenes indifferently, it is not easy to watch this film, because the action scenes in "Spy 3" are extremely real and sharp, regardless of the effects of scene scheduling and action design. , The use of portable photography alone has shown its brilliance. Some people may disagree with this, because Comrade Michael Bay loves to use this kind of large dynamic and vacillating image mode, so why the action scenes of Bie brothers are intense and intense, but they always lack the urgency that makes people hard to breathe. Woolen cloth? When we are watching "Transformers" and "Jedi Men", are we eager to wait for the mass destruction scenes to appear, or are we really worried about the film characters? I am afraid that the former are mostly. The purpose of "Green Grass"'s use of hand-held cameras is to tie the audience's heart to the character. His lens, like a buddy who follows Bonn superbly, always pays attention to the character's living condition, the scale of the scene, etc. The stuff of "visual candy" doesn't really care.
What's surprising is that even though the "green grass" shots don't use "performance scenes" as their power, "Spy 3" still offers the best fight and car chase scenes of the year in Hollywood for the majority of action fans. If-I mean if (or afterwards relying on the amazing memory aftertaste)-we can take a sigh of relief in those intense and exciting action scenes, and expand our sight slightly from Bonn to the scene and action design, You will find these "technical jobs" wonderful. Like the overall style of the film, the design of car chasing and fighting is not fancy; but because it is not fancy, the difficulty is higher. For example, without slow motion and CG rendering, Dimon must use it truly. Such fast and changeable fighting skills, such tragic serial crashes and high-speed maneuvering driving skills, make people amazed by Hollywood stunts. It can be said that the more you understand the real process of filming, the more you will be amazed by the wonderful action of the film. This kind of splendor is a real splendor that surpasses the "false sky", and is much more exciting than the "false and contrived splendor".
Since the director can successfully turn "relaxation" into "tension" on the one hand, and add fuel to the fire with "stimulation" on the other hand, it is no wonder that the audience can't relax the breath that the audience has been holding back from the beginning of the film. However, this kind of "holding" is a very happy one, just like some pioneer comrades-such as "Abe Sada" sister-like to suffocate to achieve a beautiful orgasm during "make love". "The Bournemouth 3" allowed the audience to breathe for more than 80 minutes, and it could also push the audience to a harmonious state of ecstasy.
Of course, students who like to ponder, don't forget the supporting characters in the film, they are a bunch, a piece, a pool of Hollywood drama elites. Without their luminous green leaves, it would be difficult for Dimon to make such a perfect movie no matter how "great wisdom is like foolishness". Those who love martial arts novels know that judging the realm of a master from the quality of opponents or enemies is more effective than looking at his friends. Bonn, who was fighting alone, faced the old foxes from top to bottom in the CIA, plus a top killer who was as good and deadly as him. A truly qualified action movie will respect these opponents and shape them to be "worthy" of the protagonist. "Spy 3" did this perfectly. This not only enriches the image of Bonn, but also greatly increases the weight of the film itself. Buying a DVD in the future can also be interesting just to appreciate the performance of this group of top green leaves.
Finally, I still have to pay special tribute to Mr. Green Grass. Without him, the "Bourneaux" series could not be so exciting. In fact, it is very easy for Hollywood screenwriters to write the script vigorously and solidly. However, to make the overall style of the film so clean and stern, it must be generous. What's more commendable is that "Green Grass" can return his "big handwriting" back to the original, hiding it under a natural and simple appearance. This is a talent that can't be found. In time—if he doesn’t faint—Mr. "Green Grass" can become a huge Hollywood tree that stands shoulder to shoulder with Spielberg and Eastwood.
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