The biggest advantage of this film is that it tells a story firmly. How should I put it, it is a kind of cool film that is not serious, and there are really cool films that make people feel good. If you want to say how deep it is, it doesn’t. The whole film is a slightly ironic escape scene; how powerful the setting is, there is no, any soul betrayed to the devil + runaway brides, etc. are all old and old stalks. Now, I don’t know why there will be a film reviewer saying that this setting is novel... Then why does it have a good reputation, and can it stand firm in the generally low-scoring horror film camp? In the final analysis, it is because the combination of various elements is smooth, which is really cool. In addition, he has a feature that is not common in cool movies: the story is actually rounded up, the characters are actually up, there is no contradiction, and even quite reasonable.
The so-called cool film, he must be a little bit ridiculous, some settings beyond the scope of ordinary people, if you do not ridicule, you will not be surprised, and you will not be happy at all. Better cool movies are like this without exception. For example, Quentin’s "Dead a Dawn", highway crime movies change into a zombie vampire style in a second, so that you can only look confused and have no expectations, and Why can't it be cool? The retro underground killer organization system in "Quick Attack" is even more to the point of pretending to be struck by lightning. Therefore, the argument that the setting of this film is for children can be saved. It was originally meant to be nonsense...
But the film did not go too far in nonsense, probably because it is not unusual to know that I use conventional nonsense. So the way it goes is: first lower your expectations, and then refresh all kinds of expectations. This is also a very interesting way, and it is in the same line with the unsound irony throughout.
So when it comes up, it will be chased by thunder and lightning, the screams of the bride, the secrets of the old house, and any horror film old stalk settings will all be taken out first and give you a brain preset that is ready to accept ordinary nonsense. Then almost all things improve your expectations, not even a word of nonsense. This is the second most important element that brings people a sense of refreshment in addition to the setting: unexpected and reasonable non-compulsiveness. Fast Attack does a good job of not being forced. The key is to capture the audience’s desire to watch a straightforward murder. Luc Besson’s Anna lacks this point. The film is very old, but it is almost unmatched in terms of cool film elements, but it is not easy to make people completely uncomfortable. The director has to be so perfunctory to get so stiff).
Back to this film, how is it unexpected and reasonable? Each scene has shaped the character throughout the whole process-for a movie that gives you the anticipation of the battle royale of the old house bride, will you shape the personality for me? Is it a bit of a sense of intercourse? This is breaking expectations.
An elder brother with a conscience is not completely good; a selfish and entangled brother, the proportion of bad is greater than the proportion of good; a father who seems to be gentle and docile but controls everything in reality; a mother who is in control of everything The big aunt who became the most severe perpetrator; a stupid sister who took drugs; a son-in-law who followed the crowd; a snob who took the initiative to sell her soul; a pair of little boys who were being immersed in family atmosphere; a robot-like housekeeper. Imagine that after watching a movie, everyone's personality can be clearly revealed, and together there can be a very clear family character map. I would like to comment from the perspective of the screenwriter: to do this It's not easy! It is very difficult! The screenwriter must have a very good ability to control the field!
From the perspective of the family map, it is basically such a background story: Thirty years ago, the eldest aunt was forced to watch her life’s true love the eldest uncle was killed by her family when she got married. The valuable things are her relatives, that is to say, the lives of these relatives are exchanged for the love of her life, so naturally her mission becomes to protect her family by unscrupulous means. At the same time, she even looks forward to appearing hide-and-seek cards again, especially eager to appear another pair of loved ones to reproduce her past, so that through re-enactment, she can substitute herself into the strong identity of the "injury/family defender" and get Satisfaction, liberation from the status of "victim".
The combination of father and mother is also very interesting. Dad is a typical group who panicks every time he encounters an accident. He blames the blame on all kinds of complaints, and finally complains to the ancestors, and also contributes a lot of laughter to the whole film, while the mother is the guardian of the family. 3. Ten years ago, she was the first person who praised her younger brother to report her uncle. She used her tenderness as a psychological means to actually gather family members. Why did she work so hard to pursue family unity? The first conversation between her and the hostess showed it: because of her low birth, it took a lot of effort to be accepted by the family. This strength is probably not just the old uncle hide-and-seek, but as a spoiled only by her husband ( “As long as Alex likes you, it’s fine.”) How the low-class poor have been able to guess the minds of others for decades, imagining and arbitrarily, and even more ruthless than anyone when they should be ruthless, to achieve the status of the actual head of the family. Once she reaches that position, she will naturally regard it as a treasure, so her personality traits are soft on the outside and strong on the inside. The father’s strength in the middle and the outside is the result of long-term control by the mother's finger-twisting and long-term pampering.
The brother-in-law pair is arguably the most complicated and interesting after the male lead, and also the most pen-and-ink. The elder brother has been struggling for a long time in the two moral dilemmas of "protecting the family" vs. "killing is wrong." It is precisely because of his conscience that he took the initiative to overcome the moral dilemma: it is he who protects his brother and prevents him from facing the demands. Don't report the plight of the uncle, because he has saved the hostess many times. He sacrificed his marriage to protect his beloved girl (if any), and even his unloved wife. He explained everything in advance— —According to their conversation, it was obvious that she had lived an extremely difficult life before. He proposed to get married because he didn't love her, and he might also have a compassionate heart. Seeing such a poor woman with a higher heart than the sky, he only thought that way. Women who are cruel and unscrupulous can survive in this kind of family. Through the simple conversations in which the sister-in-law shot his brother, I also saw a lot of drama: I am afraid this woman really loved her brother. Just think about it. In fact, this wedding invitation from her brother saved her out of the predicament. She would like such a conscientious man, but the two of them had already agreed that it was a deal. The dialogue during the photo shows that A few kilos of each other knows that they have no children, and the whole married life is in name only. Then if the sister-in-law has never loved her brother, it would be nice to live separately. Why should the smell of gunpowder be so strong? Don’t care if I live or die" Such sad words? Another detail is how everyone found out that his brother was missing. The sister-in-law turned around to look for him and asked in a very nasty voice, "Do you want someone to accompany you?" When you said everyone was busy killing people. , What are you going to hook up with your husband's brother? What is the psychological basis for this? She is already a family member, and she should be rich and beautiful. The purpose of doing this is probably to get revenge and tempt her brother. You see that you don't care about me, so I will fuck your beloved brother. This woman, for the things she loves, will be destroyed if not obtained. This idea is exactly the same as that of the male lead. I want to say that my brother not only has a conscience, but also has a foresight, and the woman who chooses is really close to the family.
The sister-in-law pair is mainly funny, both of them are stupid, stupid like the typical stupid rich people, but they are also stupid and coquettish. Sister’s various manslaughters vs. brother-in-law’s blind conformity, two different kinds of selfishness. Their sons also clearly showed the trait of "Bear children are hatching". These four are not complicated, but very eye-catching and clear. As for the housekeeper, he is a blind follower who is more subjective than his brother-in-law. There is also a unique temperament of crazy fusion of order (playing music in the car happily vs. being extremely restrained when reporting to the male protagonist every time, and not forgetting to repair the railings while reporting the progress of the chase).
At the end of the heroine, his transformation is not abrupt at all. The male protagonist and his elder brother are in fact a complete contrast, the elder brother is better than the bad, and the male protagonist is more bad than good. The male protagonist only turned black after the death of the brother. In fact, there is also this part of the reason: the goodwill represented by the brother died. Male protagonists have always been evil. This is actually a very interesting setting. Are people born with bad species? And being born a bad kind does not mean that he will definitely grow into a bad person. By suggesting that the male protagonist can see the devil when he was young, I will tell you that the male protagonist has the ability to "bad" and will he eventually become bad? The choice is actually in his hands. The reason why he left the family at the beginning is probably due to My brother's meticulous protection is related to the influence of kindness, so he met the heroine outside. His main mistake is that as long as he is with a kind heroine, he will automatically become better. To put it harder, my brother is really good. With a double-edged sword and his protection, the male protagonist has not suffered too much frustration since he was a child. He has too much insight to have such a wrong idea. In fact, he is not mature, but hides behind the female protagonist’s kindness. , Use it as a shield to deceive yourself and others. He always knew that the hostess would face such problems once they entered the family, right? So even if the hostess does not draw the card, and there are so many people in their family, and there are children behind them, they will have children. What about when these children get married? The heroine is bound to participate in the killing or being killed to a certain extent. This is for sure. He may subconsciously marry with the purpose of dragging the heroine into the water. Because he was afraid that without the heroine, he would be a selfish villain just like his family. In the end, the turning point when he wanted to kill the heroine was not because he misunderstood the heroine and killed his brother, nor was it because he saw the heroine killed his mother, but because the heroine would not be good with him anymore. Without the heroine, he satisfies this "self-fulfilling prophecy": since he is doomed to lose the heroine, then he is doomed to go bad.
The characterizations I mentioned above are all in a few strokes, but they are all precise and clear. I have no subjective assumptions. If the screenwriter hadn't done this beforehand, it would be impossible to portray them so clearly. That level is already very good! Not to mention the realm of horror films, many feature films did not have such a good character portray for two and a half hours...
So where does he not force this film to be reflected? The heroine is not forced. Generally, horror movies like to find beautiful women to be the heroines, but I don’t like many of them, because either they are very virgins, bitter and hated, or they are very vases, full-time show-offs. The heroine has a showy face and is rough enough. Faced with the male protagonist’s first explanation, her reaction was absolutely true. Faced with the driving car, her mother-in-law was absolutely in place. Faced with the bear child who had beaten her, she squeezed her ears up without saying anything. What I want to watch is This is not forcing!
All in all, the screenwriting and production of this film are conscientious, and it absolutely took time. This alone makes me very satisfied.
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