Among the various treasures, what the protagonists remember most is the statue of the Madonna in Bruges, because their companion, the secretary of the old party branch in Tangjiatun, was brutally killed by the enemy in order to protect this treasure. About halfway through the story, the director's burden was shaking a lot, and the sensation was a lot, but the protagonist and his party made no progress at all. At this time, the protagonists suddenly got inspiration from the map: like the big boss of every RPG, the head of state also likes to hide treasures at the end of various mazes. For Germany, which is rich in mineral resources, the most suitable place to make a labyrinth is the mines all over the place.
So the protagonists started to go to each mine copy to harvest the spoils. But at this time, two bad news came. First, the head of state revised the rules of the game. If the player cannot collect all the treasures before he is eliminated, the uncollected treasures will be cleared by the system with his demise; The other is that the polar bear guild, which is in a competitive relationship with the protagonists, is also collecting treasures, and the protagonists must be ahead of them.
In the end, the protagonists risked their lives to travel across the European continent where the smoke of gunpowder has not yet dissipated, and successfully collected seven...successfully recovered millions of art treasures and returned them to Zhao.
If I want to make an analogy, I think this film is a bit like last year's "The White House Butler" - the theme is grand and the stars are bright, but in the end it became a bland running account. But although it is a running account, it is not a boring and maddening running account. The laughing points scattered throughout the film and the friendly figures of the cute uncles with caring service and uniform control make the whole viewing process quite enjoyable.
This is a film that makes people awe-inspiring just by listening to the synopsis, but unfortunately the director of this theme did not make full use of it. The director wanted too much, and he had to show the cruelty of the war, his respect for art, and the delicate emotions of the characters, and he couldn't bear his American humor. The result was that the director put so much effort into integrating so many elements , they did not have the effect of one plus one being greater than two, but instead restrained each other and canceled each other out, making the audience feel unhappy watching the movie from all angles. Back then, I had a similar problem with Zhang Guoshi's 13 hairpins - it seemed a bit interesting in terms of the subject matter, but it turned out to be a bad film that desperately squeezed in all kinds of selling points and people couldn't see the selling points. From this point of view, at least the director of the film still has some emphasis - the various elements of the film collide with each other, and finally it is biased towards the comedy type.
In the early stage of publicity, many people called this film "the World War II version of "Eleven Arhats", and I did watch it with such expectations. The director has feelings and is willing to put in more delicate emotions, which is certainly worthy of respect. But if you find that your abilities are not able to fully reconcile various elements, you should resolutely give up some of them and focus on what you are most sure of. If this film is shot in the direction of the World War II version of "Eleven Arhats", it may become "Escape from Tiger's Mouth" in the new century, or a team combat version of "Indiana Jones" is not bad.
Brain hole at the end: A large number of artworks and other treasures that were looted by the Nazis were rescued by the protagonists, but there is one thing that is particularly concerning not to be found after all. It's called "Cosmic Cube"... (Sorry, I've watched too many Captain America 2 trailers recently)
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