From the promotional posters of the two films, you can clearly see the difference in the focus of the two films.
In the first part, Kong Yoo ran through the ruins with his daughter in his arms, followed by pregnant women, students and men, scattered with gunpowder and war.
The girl in red and the child in her womb are new life and hope, and the warm-toned base speaks of escape, family affection and rebirth.
In the second part, in the moonlit night, zombies are everywhere, and a shadowy figure walks alone with a gun, surrounded by cold steel concrete and dilapidated cars.
The same apocalyptic atmosphere here is more about icy confrontation and struggle, less the flavor of humanity.
The sequel poster clearly indicates that the film will be in line with the Hollywood industry, focusing more on visual sensory stimulation, and the shooting and car battle scenes may become the core of the story.
Going deep into the inner layer of the story, you will clearly see that this is just a gorgeous stack, Hong Kong gangster film, crazy racing scene, bloody gunfight, zombie chase, Colosseum...
Various types of elements are put together without any focus, so that the rules are completely messed up.
A movie with a zombie war as the doomsday background has been simmered into a hodgepodge: it is not comparable to "Speed and Passion" when it comes to car battles; it is not comparable to "Gun Fire" when it comes to gun battles and gangs; it is said that zombie films are directly Searching for "The Walking Dead" on the computer, just watching two or three episodes is more interesting than this.
So far, the outer shell of the story has collapsed, and the core is even more shallow and exaggerated.
The production team, while pursuing Hollywood-style industrialization, has forgotten what made it so successful four years ago.
It does not rely on excellent visual shock, but cleverly integrates oriental elements into the apocalypse, explores human nature, and uses old bottles to pack new wine.
Under the skin of the zombie film "Train to Busan" is the traditional core of Asia, which looks bland but has a strong contagious affection and the power of human nature in extreme situations. All the emotional foreshadowing is well-founded, and the turns and reversals come to tears.
In particular, the image left by Ma Dongxi is even more deeply rooted in the hearts of the people. He refuses to tell the shyness of naming his daughter, his obedient love for his wife, and his body fighting against zombies regardless of his life.
At the juncture of life and death, all emotions are naturally and unprecedentedly amplified.
The sacrifice and redemption of love has been maximized in the foreshadowing of the external desperation and internal details, and it has also harvested the tears of countless people. Compared with the second part, I also want to create a core of family affection, but here it seems very rigid, and even has a taste of forcible sensationalism.
In less than ten minutes at the beginning, before fully entering the plot, without even clarifying the plot of the characters, the sister Zhengxi and the child were sacrificed to heaven.
A large number of slow motion, tragic soundtracks, and exaggerated facial performances have become the standard combination of affliction, but because there is not enough emotional detail to pave the way, a suffocating embarrassment comes to the face.
In fact, you can never tell where the most embarrassing moment was until the last shot.
The mother chose to sacrifice herself to hold the zombies, which is similar to the image of Ma Dongxi mentioned above, but the bad thing is that the logic is extremely chaotic, and it is impossible for people not to play.
The slow motion that is constantly and deliberately extended, the gun that can't be pressed, the close-up of the face that is deliberately struggling, the protagonist who can't be beaten to death, the sudden innate power and the protagonist's halo...
Obviously I want to create sadness, but it can only make people full of anxiety, and I can't wait to rush forward to fill the progress bar.
Irrational, unreasonable, full of plastic smell, cheap and low-level.
In addition, "Train to Busan" also flashes from time to time the very alert and realistic care, which will give you a sudden blow in the thrilling thrill and make you sweat from the inside out.
People in a carriage drove Gong Yoo and his party out of the safety zone because of their inner fear, which is the oppression of the majority against the minority;
The zombie crisis originated from a biochemical experiment, and Gong Yoo, who was defined as a good man, actually contributed to this experiment of unscrupulous enterprises.
Sin comes from everyone. This is also the uniqueness of the film. It perfectly sculpts the contrast between good and evil. When evil is ugly to the extreme, the light of good is particularly bright.
And what's in "Train to Busan 2"?
The so-called human nature and family affection are only superficial understatements. If you want to get close to industrial production, you just draw the gourds in the same way, and lose the original originality of keeping close to the local area.
Even by the standards of a commercial production line, "Train to Busan 2" is of poor quality.
It is more appropriate to describe it with "dog tail continued mink".
First published on the public account: Yibei Movie
View more about Peninsula reviews
