On such a night, I was moved by such a father. Although the film doesn't have much to write home about.
A lot of people can't figure out why Martin Campbell and Mel Gibson, two people who are so successful, should go to such great lengths to make such a movie. Especially the latter, he has not been an actor for so many years, and the sword is unsheathed again, and he has chosen such a familiar role of a vengeful father.
The story of "Edge of Darkness", in retrospect, is indeed not worth mentioning. From the tip of the iceberg to the revelation of the insider of the whole country, a lot of Hollywood movies have also been made. Similar conspiracy theories were popular for a while in the 1990s, and looking at it now, with Mel Gibson's old face, it feels nostalgic. I don't know if this is the first time that Mel has played the role of a lone hero again.
Either way, though, the movie kept me nailed to the stool and sat honestly for nearly two hours. I have to admit that I was moved by the deep father-daughter feelings in the film. Although similar movies have been involved in the past, the feelings are only used as a pavement, which is the prelude before the climax of the last bloody murderer. And "Edge of Darkness" infiltrates this feeling into the details of the film, making it a force that drives the film forward and sways Craven's mood.
Throughout the film, Craven isn't a killing machine caught in vengeance, and the director doesn't cast him as a butcher who can create visual climax anytime, anywhere. What I saw was a self-struggling father who would often break down, but would immediately turn away from these inappropriate weaknesses. Maybe it has something to do with Mel Gibson's age. He and director Martin Campbell are in their 120s. The two of them understand the importance of family to an adult.
So it is very rare that the film does not forget its original starting point after the suspense unfolds. No matter how bloody the plot is and how deep the idea is, this is not a political criticism movie, but an urban cowboy movie. Craven's first priority isn't to uncover Northmore's nuclear secrets, but to find the pawn who shot his daughter and kill the fuck himself.
vulgar, the plot is too vulgar. But I think the audience will definitely be scolding while swearing at the same time, and they will be very happy at the same time. After all, this dramatic mode has become a classic in film creation. And I also have to say that the baggage in the first half of the movie is shaking so well, a daughter who is vomiting and has nosebleeds, screaming at her to say something, and being shot with a rifle, blood splashing all over the place, This made me experience a long-lost sense of curiosity about this type of action movie; of course, when the word nuclear radiation began to appear, the whole movie was mostly exhausted.
There's also a very pretentious, inexplicable British executioner in the movie. This is really a character who has nothing to do and makes a fool of himself. It's like a chef who doesn't have confidence in his craftsmanship, so he tries his best to put more peppers. His mouthful of remarks about his emotional standpoint, as well as his self-proclaimed artist's way of thinking, make people comprehend. At the end of the film, he shoots the senator for no reason at all, citing a "this country deserves a better government" as an excuse, maybe he's just being a director's cleaner to deal with some Mel Gibson's Clay The text is really incapable of dealing with the problem. His death is quite an interesting plot, making the most self-righteous people fall under the guns of the most feigned poor security guards. This fully demonstrates the importance of mixing and keeping a low profile.
And even in such an insignificant episode, the director asked him to ask, "Do you have children?" A person without a family died in the heart of compassion for his family in the end. Martin Campbell's complete unification of the film's theme is quite thorough.
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