1. Characterization
If you ask me what are the advantages of the first season of Stranger Things, I can say five or six in one breath: excellent character building, stable rhythm, appropriate laughter insertion, appropriate horror atmosphere...
However, these advantages quickly collapsed in the third season. Let's talk about the characters first. Although the new character Robin is better than those in the second season, there are some problems with other old characters. First, the sheriff was portrayed as a grumpy and fat house. The scenes of scaring children and quarreling were really routine. Even the official finally let the Russian-speaking American complain that their ambiguous way is too old-fashioned, but after you complain, this plot It still looks old-fashioned...
Then there is the friendship part between Max and Eleven, which is dressed in a soft advertisement of a fashion brand and some love chicken soup. "Life is not only for boys, but also for fashion." It makes people feel disgusting. Eleven's performance is still in line with the previous character, the jerky feeling in the face of new things, the cool temperament that Max had before is gone, and the characteristics of this character are also invisible.
Nancy's mother is too. She planned to have an affair before, and then taught Nancy some women to be self-improvement. You are right, but what is the meaning of this scene? Encourage little Nancy to keep going? What's the point of saying that her mother was going to cheat or something?
Similarly, the other two new characters, the mayor and the Soviets, the mayor's every move is really like a joke, and the Soviets feel that they are purely functional characters who are selling Mengjia to advertise Burger King.
In fact, this cannot be entirely depended on by the screenwriter, because once there are too many characters, some people will naturally be unable to take care of them, and it may be difficult to string together several lines. In fact, the flaws in the characters have already leaked some clues from the second season, and in the third season, it seems that the problem is even bigger. Advertising can be tolerated no matter how hidden it is. It is said that Netflix is also short of money recently. I can understand that it has invested in so many things in the past few years, and has recently been reclaimed the copyright by many dramas. Maybe the situation is a bit bad.
2. The addition of laughs and the creation of a horror atmosphere.
The jokes in the previous seasons are really more natural, and they will not be added in inappropriate places. This season, the addition is not so appropriate, and some places are really not funny, such as Russians drinking soda or quarrels between middle-aged and elderly sheriffs, etc., I can't see why this is funny. And when it comes to the last one or two episodes, it is obviously a matter of life and death, and you have to make these embarrassing jokes, not only can't laugh, but also destroy the atmosphere of the final battle. Yes, it's logical that Suzy sings and the sheriff bickers, but...it really spoils the mood.
All the monsters this season are not good either, they are all things visible to the naked eye. The sense of unknown in the previous seasons, or the sense of awe in the face of huge objects does not exist, except that insensitivity is disgusting, and there are only places where I was startled by the sudden sound effect, that's all.
3. The use of lens language
This is one of the few remaining advantages of the third season, inheriting some minor tricks from the first season, such as the use of matching editing (in two shots, two similar-sized objects are switched in different spaces). When several people are talking, the inside and outside fights, side shots, and scene changes are all handled well.
The most commendable scene is the dialogue between Jonathan Nancy and the editor-in-chief of the newspaper. I think it is a model of the unity of form and content, and an ordinary counter-attack can be shot so closely to the mood.
This means that the director still has some ideas, not just one story, no matter how the camera is a pipeline director. But if it constitutes a good premise of a play: the rhythm of the plot, the character building, and the atmosphere, there is nothing at all, and there are some good lens language that will not help.
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