In the opening scene, Selton gave me a great talk, with extraordinary momentum, which gave me some hope; the rendering of the environment and plot also felt very good. But a game of tennis requires calculation, so that's smart? This is a bit childish. As the plot goes on, the cautious but inexplicable first symbol circle appears, the killer's strange killing logic, the ingenious means of leaving a letter, and the accumulation of many well-known theories that are used in science fiction... ...Let me think this is a lousy film; in addition to this version I watched, the radio and television seemed to cut all the scenes where more than 70% of the body epidermis was exposed when both men and women appeared at the same time, which made me think it was still a boring piece of shit piece.
Fortunately, the narrative method still suits my taste, and I still saw the end in my dissatisfaction; I got a little comfort when I saw the end, which is a little bit of make up for the small wounds in my heart.
But what about women? Their images are far less plump than their figures, so Lorna won't talk about it. Although there are still a lot of shots, they are all embellishments. They are just vassals of the two male protagonists. I can't imagine that she still has a relationship with Selton. The legs are really scary; the bass, which should be very important, is completely a flat, conceptual, and symbolic existence. Its emotion, personality, and life seem to be just a narration. Let the audience ignore her, so as not to get the feeling of not having that "stunning" in the end. The more vivid image is the old lady who died as soon as she appeared on the scene, and the tension of her expression is very memorable. . .
But what about men? The image of Selton is very strange, and in the end, he finally understood the reason, and obtained the understanding of "as it is". Martin, why is such a smart boy so naive all the time? It would be nice if the emotions were more natural. Well, I'm a little picky, and their performances are pretty good; including Martin's not-so-perverted roommate, and Selton's very perverted, once-smart student, they're all pretty successful.
But what about the plot? The British police in the film and television will always continue the style of Sherlock Holmes' Scotland Yard police officer, always showing how smart the protagonist is, always ending at the end, and always making soy sauce in the hearts of the audience - please, you group of experienced criminals. Can a police officer with an advanced knowledge background be led by the nose by a lie that teaches a temporary uprising? Even if he is really a professor with a high IQ? Can the protagonist be a little less arrogant in the legend? ——Does every woman fall in love with pig's feet at a glance? ...
at last, there is still a philosophical discussion, not just a pile of nouns; at last, its conclusion agrees with my pain: the truth cannot be known—though I no longer do so Tangled; finally, it ends with this contradiction and I am still very satisfied - I don't even bother to care about everything that I think gets the truth.
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