But as soon as I started the film, I faced a difficult problem. I needed to find some attention to divert the dizziness caused by looking down at the camera from outside the window sill of a high-rise building. To dance or not to dance, is it the protagonist's problem? There is some tragic atmosphere in the retrospective story, when I wonder if it should be a promiscuous chess story, the second bad boy and the second girl appear, it seems that good things are behind, so those are far inferior to the gods in the previous blockbusters. The usual brave leopard's neat corner performance, just put up with it, although I don't deny that I rolled my eyes a lot in the flirtatious clip of the second male idiot.
Returning to the protagonist, another black-bellied fan, the innocent prison disaster is not the sinking of despair, but carefully planned to seize the chance of survival in the desperate situation. That's why he escaped from his father's funeral, and then took advantage of the desperate situation outside the window sill of the Roosevelt Hotel. The theme of a typical American blockbuster is inseparable from this. First, the protagonist is forced into a desperate situation, and then he will die and then live, and stage a heart-warming Jedi counterattack. Of course, this one played a trick to make the plank road dark and dark, and brought out some new ideas. In addition, American films are familiar with the rhythm of commercial crime films. This film is also smooth in rhythm, and occasionally puts a few stumbling blocks, so that we can be with the onlookers. The same way to get your heart up and down, and then come back to see the sun.
All in all, it's a decent commercial film, with some suspenseful touches, and the effect is not bad. After all, the male protagonist spends almost all the time on the window sill of a high-rise building. Jumping hard, not only meeting the needs of the spectators, but also as one wishes, to clear the crime, reunite the family, and end it perfectly.
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