Personally, I think it is right for the screenwriter to abandon the plot of the comics and keep only the most fundamental backbone. In fact, the plot of the comics, abandoning those charismatic characters and detailed settings, the remaining backbone is to open the wall, break down the family, become a soldier, be eaten, become a giant, get caught, reload into battle, and block the wall. The first part of the movie version took care of the transition from being a wall to a giant, and also taking into account the description of the world view, touching the chest, and acting handsome. To be honest, I was a little bit nervous. This became the main reason why the rhythm of the film got out of control.
In the first 15 minutes of the film, the 50m giant has already appeared, which means that in the first 15 minutes, it is necessary to complete a series of tasks of shaping the world view, explaining the relationship between the protagonists, planting the seeds of hatred, and sowing the hope of freedom. That is, the scientific name: establishment.
As a result, this panic caused "hatred", the most important backbone that supported Allen's survival, and was brittle by the screenwriter. Please, according to the plot of the movie, if Allen finds out that Mikasa is not dead in the middle, there is actually no motive for revenge! It would be better to add a minute or so into the town drama to explain Ellen's happy life, or simply write the three people as brothers and sisters, and they will all be solved by being eaten by giants once.
Then there is the dull middle section. In fact, it is understandable. Based on the idea of saving money, we have to write more articles on these irrelevant supporting characters. But even so, we can't just follow the rhythm of shooting Japanese dramas. There is absolutely no need for that pair of dogs and men to come out!
Also, if there is such a good chance for a fight, just use a Weiya backflip to end it. It's a pity to not show Alan's ability to fight against people well (actually, it should be ranked 3rd after Ani), It's not bad to invite Miura-kun, a Tianchao martial artist every day, and it can also pave the way for beating giants in the future!
After that, there is the recapture battle. It was originally a good opportunity to show three-dimensional maneuvering, but it turned into a cannibalistic party for special photography. How much the director wanted to show his level of special photography! Such a tossing and eating of people, he had already eaten it once when he first broke the wall. However, considering our little family's enthusiasm, we had to swallow it up. Fortunately, the final climax - Allen's Angelization did not become the rhythm of Ultraman beating the little monsters, and it also made people see some serious legs.
In fact, according to the money-saving posture of the first part, maybe the second part still has some special effects to watch, maybe it can be a little closer to Zhong Kui's demon-killing level!
Just watched Maze 1, and came back here to add a few words. The same is the setting of walls and comfortable life. Attack should really learn how to make a maze. Other people's plot advancement, conflict settings, laying of lines, sense of rhythm. I don't know, Hollywood is really different.
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