The beginning is like "Trainspotting", the middle-aged man Hatch sinks into the mediocre life. Today is exactly the same as yesterday, and tomorrow and today are the same.
In a burglary, Hachi could fight back, but let the thief go. Cowardly Hatch confuses his wife, contempts his son and teases the police. The fragile life made Hatch not want to cause trouble and became a coward. Is this right or wrong? Hatch, who showed such a cowardly side, found that he could never return to the original peaceful days. His image was damaged, and a series of troubles ensued.
In the face of the ridicule of the people around him, Hatch is still weak and incompetent. Like the men in A History of Violence, there is a kind of self-restraint lurking in this weakness. In fact, what is really uncontrollable is not the external ridicule, but the heart that is about to burst. Like a great samurai, he needs to try his best to hide himself.
Keep trying to convince yourself, don't pretend to be a hero, don't make trouble. He has a good life, has family, colleagues, plays various roles, and gains a lot of family and friendship. That's all he needs, and he doesn't want anything violent to ruin such a good life. The problem, however, is that this kind of life seems to be tiresome, and the submissive silence begins to become unbearable and hopeless compared to the outbursts of hatred and hatred.
As a result, men are no longer cowardly. Grab your old Bureau of Investigation credentials and a gun and start looking for a place to vent. He searches for his daughter's lost cat bracelet and his own watch. The image of a tough guy is back, but this passion is not to eliminate violence and peace, but to regain the love that was dissipated by mediocrity and violence in this family, and to vent the bad emotions that are regarded as cowards.
However, once the tough guy is resurrected, the strong emotions provoked by this violence have to be continued, just like a knife needs blood to maintain its sharpness. Eliminate violence and peace, start with love, but end with evil. After killing a few gangsters, he would actually be intubated to ensure his immortality. His technique was indeed professional, and he began to doubt his identity.
The tough guy Hatch came home and confided in the truth that he only found his youth for love. Ye Qinghui, I can see Eastwood and Bruce Willis at their peak in Hatch, but only see the beauty of his wife Connie Nelson in twilight. The dense wrinkles and slack skin are like the golden years that are gone forever. She's no longer the dazzling Danish beauty in Soldier, Gladiator and The Devil's Advocate, the stunner that dwarfs Charles Theron. Ye Qing returns, things are right and wrong, the flowers are still falling, and the water is ruthless.
Closer to home, Hatch's heroic resurrection journey has gotten into big trouble. One of the gangsters is the younger brother of the Russian gang leader. What to do? As Hatch's identity mystery is revealed, it turns out that he is also a Tai Sui who can't be offended. Behind the two tough guys stood a huge dark organization. In this way, the two organizations began to face off against each other.
The enemy is coming, Hatch has to solve the murder on the one hand, and on the other hand, he has to hide from his ignorant family members. This is definitely a big trouble. And the so-called code-named "Little Man" Hatch is not because no one knows him, but everyone who knows him is dead. In that 3-letter institution, his other name is "Death".
The plot also explained why the "Grim Reaper" quit the 3-letter organization. Because he envy those family men. The destination of a man is not to become an undefeated hero, but to become a qualified husband, son and father, with ordinary and real happiness.
But as a family man, what you get is a peaceful old age, but what you can't escape is the mediocrity and numbness day after day. And being a "death", what you get is the thrill of violence, but what you can't escape is the excitement and loneliness of losing your old life.
In the contest, the house was demolished, and then the company was demolished. In the end, even the lingering father in Hatch's nursing home joined the fray, and the hero was brave again. The film's adrenaline-rushing violence is at its peak. It is not only coquettish, but also presents a philosophical poetry against the backdrop of famous paintings, old songs, gold bars and countless dollar bills, in the background of gun battles, explosions, and chasing in the dark night. It's about a man's dignity, beyond his entire life. This is the essence of a man's existence, and all his worth. Violence is a means, a life, and an indelible gene in the blood.
At the end, in the newly purchased house, Hatch asks, "Is there a basement in this house?" It is true that heroes can become mortals, but mortals can never see through heroes. So there must always be a place to hide that heart that doesn't know when it will burst.
This film presents violence and discusses violence. Is violence the right evil? Is it human nature? Or the outcast of civilization? Modern civilization amplifies the destructiveness of violence while depriving it of its legitimacy. In modern society, people are as docile as sheep and cowardly as cats. In the day-to-day torment, the pain and blood of their souls are extinguished, and they are alienated into a part of a huge production and consumption machine. The theme of this film is to recover the long-lost sensitivity and blood in the human nature in violence, and return a tooth for a tooth. Violence that protects the weak and upholds justice may leave the body bruised and bruised, but with a clear conscience, cowardice and forbearance will eventually distort and alienate the human soul.
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