The movie really will fully reflect the cultural characteristics of a race, and it can't be hidden.
Russian literature is so good, but it is not good at making movies.
China, an ancient civilization, just can't make movies well.
Americans are simple and rough, and movies always produce great works.
Mexicans are enthusiastic and unrestrained, and the film is calm and logical.
The development of Indians is backward, but the movies have sprung up.
If nothing else, the Japanese are number one in the world in animation.
In making movies, money alone is not enough, hype alone is not enough, special effects alone are not enough, experience alone is not enough, selling sentiments alone is not enough, remakes are not enough...really original talents are needed. We have not cultivated such talents, and a large number of audiences who are waiting to be fed live on domestic garbage.
Maybe the day of the rise is sometime in the future, but not now. "The Wandering Earth" didn't shoot Liu Cixin's script well. Maybe Liu's literary content is not suitable for the film format, or maybe the director's ability is too weak and he has no science fiction literacy. Like Russia, special effects are not a problem. The problem is that you can't tell the story well, you can't understand human nature, and you can't think about big problems. There is no content as the core, there are empty special effects as the shell, and it is decorated with feelings such as patriotism or great love. The pseudo sci-fi fools the audience, or does the director think it is sci-fi? A work in the name of a science fiction movie, the only (relative) advantage is that the special effects are no problem, which is equivalent to the only advantage of your composition is that there are no typos, such a composition is a code word.
The fall of Moscow = disaster special effects of global vision + a few little brats playing the house.
There are too many low-budget films that follow this routine: a few high school students, men and women, drive to the wild, go to a hut deep in the mountains, and then have all kinds of accidents, all kinds of hauntings, dead people, seeing monsters... This film is just like that A main line with big special effects. You can completely add special effects without special effects. The whole world is paying attention, but the result has no impact on the plot, the world only belongs to these children.
There is also a very important issue: rhythm.
"The Wandering Earth" also has no rhythm at all. The whole article is a riot, chaos, noise. This is a serious lack of confidence. It's like the director is yelling, I'm going to make a blockbuster, blockbuster! I want the whole process to be highs, no lows, no calm, all give me passion! I want to show my blockbuster temperament!
But there are so many restrained emotions throughout the whole process, why not study the blockbuster that broke out in the last few minutes and then stopped abruptly?
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