However, except for the section in Chinatown that uses a lot of brush and ink to describe the style of the block, other parts can basically be said to have little connection with the 16th block of the title. The 16 blocks and the 2-hour time limit mentioned repeatedly at the beginning of the film seem to be just a gimmick. The film does not give people a sense of time and space urgency from beginning to end, and even uses an ambulance like a game pass code at the end. He just cleared the customs directly. After so much trouble, why didn't he use it earlier?
It's really not good for people to refuse to accept the old. I think that the rogue policeman who was reckless and ruthless in this drama became an old policeman and began to reflect on what he did when he was young. At the beginning of the change of image, I was really a little uncomfortable. Habit. But in recent years, Willis' films have always conveyed a sense of heroic twilight and powerlessness, with less and less fighting scenes and more and more emotional scenes. The same is true for this one, except that the image of the black man is a bit too obscene and too loud. Originally, about feelings, one sentence will do, and you can click on it. Like Mrs. Xianglin, just say it if you don't have anything, it can only give people a feeling of wanting to kick you. impulse.
There is no creativity, the action scenes are not exciting, and the emotional scenes are superficial. It is difficult to say that this is a good film, and it can only be regarded as a pass.
If the action films of the 1960s belonged to Sean Connery, the 1970s belonged to Robert De Niro, the 1980s belonged to Stallone and Harrison Ford, and the 1990s belonged to Bruce Willis, but it is difficult to find the decade of the new century, the action film series A representative figure can be drawn. Most of the action scenes now basically have to let the older generation support the scene. On the one hand, we watch Die Hard 4, Indiana Jones 4, Rocky 6, First Blood 4, etc., which are almost nostalgic movies. Until the heroes of the past show their old ways, on the one hand, we can't find a person who can replace them. Could it be that action movies, like these old men in the film, have come to the age of heroes?
At the beginning of the century, the emergence of The Matrix and Lord of the Rings made computer stunts become the new darling of the film industry from the previous use of assistive technology. Cartoons and fantasy films became the new mainstream of films, while other types of films had or not. I also want to hook up with stunts. In the past, Stallone, the governor showed off his muscles and ran around the streets carrying cannons. Now all kinds of supermen and mutants use all kinds of superpowers to fly all over the street; gorgeous fighting, all kinds of firearms, and hot car chases are no longer possible. To satisfy the audience's interest, robots had to be played by humans in the past, but now not only do robots not need to be played by humans, but even the roles of humans are basically reduced to vases.
The birth of new things must be accompanied by the elimination of old things. Wasn't the westerns of that year driven out of the stage by urban action films? Maybe now is a new era?
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