Serious topics aside, the first ten minutes of the film tell us that uniforms matter. Using the word "sexy" to describe Adam Sandler is too bad, and his signature voice squeezed from the corner of his mouth is believed to only make women's sexuality more swept away. But he was able to push 16 women in the film in two months, and the original words in the film also included "4 Canadian women who just enjoyed a late wedding night", what power can be other than "uniform"? ? The most convincing is the scene in the hospital, where the doctor treats Sandler in a hospital gown with disdain, and appears in his home to play a game of "handcuffs" in a blink of an eye. Of course, a considerable amount of "kung fu" is needed as a foundation, but "the power of uniforms is infinite." The rational use of external resources should at least be the motto.
Personally, I think that three-quarters of the plot arrangement and handling of the film can be compared with many classics in film history, and it is also Adam Sandler's relatively outstanding work in recent years. Although the performance is still not divorced from his own housekeeping skills, But at least he got the movie right again. If it weren't for the hurried end of the fire captain's arrogance, the audience would be more interested in watching how the more and more troubled farce ended. It is precisely because of the trouble that it is impossible to justify it, the director and screenwriter came up with this clumsy and nonsensical way to end the climax.
The serious plot and dialogue made me wonder for a while that without the face of Adam Sandler, the whole story was not based on absurd conflict, and this film would be a very close-to-life, very realistic work. It doesn't look like a comedy at all, and the comedy comes out of it so well. The comedy creation of this film is more like a tired egg, and the foundation is laid in an extremely dangerous position. With each additional layer, the danger increases several times; , is also enough to make people happy. The quarrel scene in front of the pipeline and the court scene look so lively and dripping, there is no contrived comedy treatment at all, not with those puzzling surprises, nor with grandstanding, real life problems collide together, making A pair of fake homosexuals tend to be homosexual more and more naturally; the two people are completely aware that they are not homosexuals, but they continue to do N kinds of very "same" things. Viewers need to constantly remind themselves that they are not gay. As a result, the more reminded, the more amused, so I laughed and watched the scene from quarrel to reconciliation. This kind of "combination" is commonplace, but with a premise of disguising homosexuality, it forms a comedic effect of "the less you want, the more you get closer" - although this is a common method used in ordinary tragedies of fate. The courtroom scene in the climax is also a good highlight. The two male protagonists have a natural and smooth flow from string confession to common memory and then to the revealing of their true feelings. There are no fancy camera edits, and the playful words that are not excessive slowly show the change of the whole atmosphere. Time blurs the boundaries between the two.
The handling at the end of the climax is the worst part. The screenwriter started a very good start, and he is also steady in the narrative of the story. The only shortcoming is that the climax is blowing up the bullshit, in a wide range of space. What should have been a small-scale conflict between a few people continued. In the end, the courtroom's hilarious way of solving the problem is simply deliberately tickling the audience, completing the final task of his comedy, making people close their eyes in desperation amid the shriveled jokes.
The gay movement is now a social movement with a wider influence in the United States, and it may even exist and develop as a social change. Of course, this film is not a traditional way of encouraging people to "be yourself", but more importantly, it expresses a kind of emotional cognition and change. Playboy uses the guise of being gay to approach and get to know the women he admires; at the same time, he also cements the age-old brotherhood between men in a huge lie.
It's not a good movie unless you watch the ending.
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