In fact, I like the movie as a whole. After watching the plot rating of 6.9, I predicted that it will not be a brilliant movie. With this kind of expectation, every time some wonderful things appear when watching a movie, I will be impressed and impressed.
1. The groundbreaking point
The director’s first few violent scenes were particularly brilliant: the priest was shot by the singer for the first time; John Hamm kicked the door open. In fact, from the plot to the editing of these two places, the director should have spent a lot of careful thinking in order to cause the audience (me) to be shocked.
First of all, the story is set, the director actually gave the story to the last point was shocking reverse bedding , and rather than just a plain story with some foreshadowing , then suddenly to an unexpected shocking point. Because the audience has watched so many movies, they already have a general expectation of a turning point in the plot, and a surprise or a shock point alone cannot achieve an unexpected effect. For example, before the priest was taken by the singer, the shot given was the priest drugging the singer's wine. When I personally read this paragraph, the psychological process is like this:
The priest is so kind, and he asked the singer to come out to eat alone. He is definitely not a good bird. Before the priest gave the medicine, I already had an expectation . I thought that the priest would create conflicts. The fact that the priest gave the medicine satisfied my small expectations for the turning point of the plot. At this time, I actually relaxed my guard, subconsciously thinking that there will be no major turning point for the time being. Even if it does, it will be calm for a period of time, or in a relatively distant place. But the director unexpectedly released a big wine bottle that was smashed in front of him while the priest was putting medicine. With the sound of a huge glass breaking, I was taken aback at this moment, and I was basically in a daze: WTF???
The cleverness of the director here is that before the singer dominates, the priest may take advantage of the singer by misleading the audience. A lot of power was added to this violent scene in one fell swoop. Including John Hamm before kicking the goal. John Hamm stood outside the door, bedding Dakota locked the door, and inside the door was a hostage who didn't know it was her sister, holding a shotgun in his hand. While we were still worried about the safety of john hamm, a door swung over and Dakota flew to the ground, leaving us shivering in front of the screen at a loss.
In addition to the reverse pavement, the lens' close first-person angle of view and relatively loud sound also played a big role. When the priest was thrown the bottle, the camera was standing behind him, and the bottle was oncoming. However, like the priest, we are still expecting the singer to stand far away. When kicking the door, the door is also very, very close to the camera. Coupled with a much louder voice than the surrounding environment, the audience will be shocked.
2. Hurt good people
Although it is a group portrait movie, when I watched it, I didn't feel from the perspective of the spectator. It was not from the perspective of God. I think my emotions are always jumping from one character to another, switching back and forth with empathy. In the plot setting, the strong and weak roles have been switching, but before each status switch, the director always talks about the warmth and loveliness of the role that will be in a weak position, so that the audience will have feelings for the role. This person should be the "protagonist" or "positive role", and then hurt him/her to create a strong plot effect.
For example, before John Hamm died, the director inserted his emotional scene of talking to his children and his willingness to save people against the orders of his superiors. These good personality traits will make the audience a little uncomfortable and surprised when he dies. In Dakota, when the priest and Miles were in a disadvantaged position, Dakota saw how she saved her sister from domestic violence; how the priest suffered from amnesia, spent the difficult years in prison, and Miles’ war. trauma. The hearts of the audience will always follow the disadvantaged, and silently pray that they will not be harmed.
We don't know anything about the character when she is the hurter, and we only know his goodness and his humanity when we become the wounded. Like a miniature version of a low-profile power game, our feelings slowly grow in the characters that we hated before, and then suddenly we kill this character we have fallen in love with. There is a feeling of feeling being played with, which is quite interesting.
View more about Bad Times at the El Royale reviews
