Some feelings when watching Max 3

Overall, the style and structure of the series 3 works are not so consistent. It's like a patchwork of several modules, several main scenes: Butte Town, children's tribe, car chasing in the desert. The scenes in Butte Town always give me the kind of instant vision of Interstellar Town in Star Wars. The guys in all kinds of strange costumes shuttled back and forth, the privileged officers of violent law enforcement. . . Negotiations of force, battles of giants, etc. It seems that this paragraph mimics the steampunk style of interstellar science fiction. It seems to be a variant of some segments of Star Wars. The tribal scene of children here is a variant of "Treasure Island", and it is a rebellion and subversion of the utopian world of "Treasure Island". This is consistent with the dystopian world view of the MAX series. These children do not live on Neverland, they are a group of outcasts of civilization, who have lost the inheritance of knowledge and degenerate to a primitive life state. When confronted with nature, it will be swallowed by quicksand, will die, and will be used by the adult world outside. There are some shots in this scene that move me very much. It is these shots that make me unable to agree with the comments of the black max3, although I also feel that the overall style of max3 as a movie is not clear enough. One of the shots that touched me a lot was: "The children chased the wind and came to the wreckage of the plane, hopefully looking forward to the MAX launching the plane and taking them back to the "civilized world" in the memory they deliberately kept. In the yellow sand Bare most of the old body, the children stood on the plane and screamed excitedly. The afterglow of the setting sun was shining from behind them, and MAX watched all this. The children’s hopes and expectations are in sharp contrast to the reality that Max knows. The impression of the original state of the children now and the impression of the former technological civilization shown by the aircraft body form a strong contrast. It is really a sad picture that pierces the heart. Presumably Max’s heart is also deeply pierced by this scene. It hurts. So when I went to save the children who were determined to return to civilization, he found that the town of Butte was approaching, and Max decided to help the children capture "knowledge". -Engineer "Master". It also leads to the scene of car chasing in the desert, but this time the film is almost over. Car chasing is a must-have element of the max series, but the appearance of this element in this work is too blunt, because the previous paragraph does not have any foreshadowing of the locomotive lens. In contrast, max1 and 2 are used throughout this locomotive element. 1 is a large number of road chases and 2 is a pure wilderness speeding, especially the combination of locomotive elements and plot in 2 is the most natural and suitable. 1 Because the performance of the character's psychology makes the locomotive element not so ubiquitous. However, in 2 there are almost characters in the scene dispatching around the vehicle, which is very pure mechanical aesthetics. Look at 3 suddenly appeared very late, and it was just a straight chase around a section of the railway. The last poem is also very intriguing. Perhaps the focus of 3 expression is the cherishment of civilized fire knowledge and human memory in the last days instead of the catharsis of revenge in 1 and the law of the jungle in 2. After writing these, continue to read 4.

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