Note: The music is great, looking forward to the soundtrack!
November is a sad month. After spending the humiliating Singles Day not long ago, I was deeply moved: Why did such a good young man miss the other half? As a result, five words floated from the sky: all because of the face! I was hit by the second blow, I wanted to seek solace in the movie, but I found that the world in this movie is actually in the late stage of "seeing the face". This deep malicious moment broke me...- -#
Actually to say "Looking at the face", this is a regular element in animated movies. Which animation's protagonist is not set to be cute? But "Penguin" has raised the "standard" element of this animated film to the extreme. Its entire worldview is based on the concept of "looking at the face": the degeneration of the BOSS is because of the face; the conspiracy launched by the BOSS is to destroy others Face; BOSS is finally redeemed because of the face... According to this logic, it is not difficult for us to understand why South Korea always thinks that it is the center of the universe. The plastic surgery industry is developed, and they have confidence in the world of seeing faces╮(╯_ ╰)╭
Speaking of the movie itself, this is a standard Hollywood popcorn movie with all the necessary commercial elements, and the story is also a classic process routine, which does not seem to be innovative. However, "Penguin" has put a lot of effort into the details under the premise of following the framework of classic stories for stability. In the words of the Internet, it has formed its own unique style with "micro-innovation".
I once said in my evaluation of another Hollywood animated film "The Crazy Primitives" that its box-office success stemmed from extraordinary imagination, and "Penguins of Madagascar" is similar, and it has achieved differentiated characteristics through imagination. The difference is that the imagination of "primitive man" is reflected in the description of the overhead world; while the imagination of "penguin" is reflected in the creative use of common things.
Taking the two classic chases and the final battle in "Penguin" as an example, whether it is the early octopus army using the principle of elasticity to pursue high-speed pursuit, or the mid-term leader of the North Wind Special Forces (is this guy a wolf or a dog?) Hi-tech equipment in an attempt to sneak in, or the last "implantable food rocket" to end the war, are unexpected but logical strokes.
This seemingly simple creative use of common things is actually one of the hardest to use. Taking Jackie Chan's works at his peak as an example, apart from the fact that he does not have to act in high-risk scenes himself with a stand-in, the most attractive feature is the use of peripheral objects for flexible fights. In terms of dazzling and gorgeous, Jackie Chan's films back then were far inferior to the action blockbusters that cost hundreds of millions of dollars today, but in terms of making people memorable and making a great case, now the so-called blockbusters that only talk about technology and have no imagination are not as good as before. .
Thinking back to the golden age of Hong Kong films, in terms of technology, capital, and resources, they were far inferior to today. But that generation of filmmakers, relying on their unseen and intangible imagination, created countless legends, and their viewing and interestingness can still challenge the first-line blockbusters today after 20 or 30 years. Compared with the past, today we have technology and capital, but we only lack that wild imagination. So filmmakers, you say, are we progressing, or are we going backwards?
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