Hercules is a well-known hero in ancient Greek mythology, and audiences are familiar with mythological stories such as rescuing Prometheus, helping Jason find the golden fleece, and killing Hydra. But this time, Renee Haring did not define the story as a "god" and added too many technical special effects to show off his skills, but preferred the narrative of the story itself and the naked close-up slow-motion brutality of the hearty fisting to the flesh. The depiction of battle, with the line of Hercules played by Kenan Lutz in Hercules, to interpret the knot is: "I'm just a mortal, I'm not a god." Therefore, the myth and legend of the film is not so strong, and it is more inclined to "epic", subtly restoring the ancient Greek war in the name of God. The content of the story is not too complicated to be as incomprehensible as an epic, and can be simply summed up as "The Second Prince's Road to Revenge".
Although there are not too many stunt renderings, "Hercules", as a standard epic film, has successively filmed "Die Hard Sequel", "Peak Warrior", "Treasure Hunter" and so on in the slow-motion fighting scene. The director of many successful action films, Renee Haring, did not disappoint. The description of a lot of meat-selling scenes, and the ruthless confrontation of the father-son battle broke out after the lover left, making the action Movie lovers can feast their eyes and win back the ticket price; in terms of rationality, it fully stifles and satirizes the inevitable result of political ambitions that go against the will of the people and will eventually fail, and promotes the historical inevitability that people will conquer the sky and the people will be invincible.
The film can be roughly summed up into three clues. One is through the change in the fate of Hercules, which highlights the contradictions between father and son, brothers, and the people, intensifying step by step, as well as killing tigers with bare fists, using two to fight two, and one to one. The second story is about Hercules' transformation from god to man, and from man to god's identity again. The film expresses the escape and struggle of Hercules incisively and vividly through the few brushstrokes but the finishing touches. The last one is a rare emotional advance in other "epic films". But whether it is the intensification of contradictions or the increase of emotions, the former is benevolence and righteousness, or love, both of which are fetters, both paving the way for the final battle. In terms of rhythm control, it can be said that there is a degree of relaxation.
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