said on the film, "Di Renjie" is a very indifferent film. It's neither painful nor itchy, neither showy nor cheap, it's a little bit rushing to the road of a big fight, but it quickly turns into a sloppy mess. As someone said, "It is very unwise to build the world's tallest skyscraper on the Zhongnanhai Sea." In such an unreliable void background, the casual suspenseful setting and the desire to cry without tears The effects are increasingly verbose. As a senior director who did not learn from the West thoroughly and wanted to revive Hong Kong-style memories, Tsui Hark's tragic "I have my own heart to the bright moon" concealed the pride and domineering at the end of the last century. Di Renjie, who has a great responsibility from the sky, has also become a floating cloud to watch the flowers, and the flowers are falling.
The slogan of the film's outdoor advertisement is: "Before September 29, there is no truth." Corresponding to this suspenseful pretext, which is particularly strong, is the sense of isolation that is indifferent to the so-called truth when watching the film. "Di Renjie" failed very much in designing the story as a suspenseful detection event. Although there are links and links, emergent events and scribbled cause and effect explanations, the clues are given in the overall martial arts arena environment. It became too casual, almost taking a step by step, and when I couldn't find the driving force, I pulled a new prop. After such repetitions, the audience's initial enthusiasm for participating has disappeared, because most of the conditions and results of reasoning are unpredictable, and they are only led by the nose of the show's serious people. Believe whatever you say, even if it's a little blind. However, the three clearest suspense points in the whole film - who is the national teacher? What is the official explanation for the cremation? Who is the real murderer? ——In the process of unfolding the layers step by step, there is no incredible confusion, no surprises like the original, just plain boring and self-hypnosis.
Andy Lau is relatively safe in terms of box office appeal, as can be seen from the ending of "Future Police", but in terms of performance, there is really nothing to praise. Li Bingbing's Shangguan Wan'er was a pleasant surprise. She had a tough feeling in her bones, which reminded me of Ling Chuchu, who was a bit silly in "Youth Bao Qingtian", and became the first character I liked after she was inexplicably popular for so many years. Carina Lau's Wu Zetian showed a very suitable, very hard-core and leadership temperament. Originally, this was a symbolic image, used to bring out a grand historical background as a gimmick, and a retro and trendy controversial image was used as a hype point. The utilization rate was high, and the participation in the whole event was very low. The sworn sensational promises at the end were completely blind. In the end, Deng Chao proved his strong plasticity as a powerful actor with an unrecognizable enchanting look.
"Di Renjie" has Tsui Hark's usual gray tone in it, and the most distinctive performance lies in the design of several fighting scenes. Although many strange models are borrowed and blended together, they are still acceptable for viewing. The bad stunts throughout the article not only show that their blockbusters sell well, but also imply the helplessness of ambitious filmmakers at the moment. In the end, it could only be drowned in the war of platoons that got together in October, and was soon forgotten. To some extent, the box office of "Di Renjie" was based on the publicity failure of "Jian Yu" in the same period, so the so-called success is often accompanied by some disdain and scorn. If Tsui Hark really wants to go beyond in the way of reference, return and innovation, I am afraid that he really needs to lower his stance and have more real, sincere and chewable dry goods.
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