This group of aliens, like the people on Earth, has all the good and evil written on their faces, making it easy to identify. The bad guys are thirsty, and every sly smile is not self-inflicted; the elders are majestic, covering up their weakness; the women are weak and kind, and their will is tenacious; the samurai leaders have a deep sense of righteousness, but also have a pedantic sense of class discrimination. It is justified, but in the environment of this film, it is endowed with a layer of "inhumane" character flaws, because the film never intends to let us enter the Warring States Period, and encourages us to uphold the current values to look at that overhead world. Highly profiled and predictable characters are the main creator's efforts to overcome cultural differences.
At any rate, on the surface, the film still maintains the atmosphere of a Japanese period drama, so Keanu Reeves' foreign face, like his mixed-race identity in the film, is out of place. The dragon slaughtering battle was earth-shattering, but it was just a sidekick. Comparing the cross editing of the two final battles at the end of "Shaking God of War", we can understand that it is not necessarily the protagonist that the scene is big, and the thief wants to capture the king. In the first forty minutes of the main line, Reeves is basically absent, he is not a part of the story, and his return identity is more like a mercenary, a guide and a good partner. The style of their escape from the dock is similar to "Pirates of the Caribbean", where the blacksmith asks Captain Jack for help, but the captain quickly dominates, and "47 Ronin" has no ability to further enhance the outsider's sense of existence, and can only let Reeves Dragon slayed.
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