After the monsters crossed the Great Wall, there are not enough urban street battles, and the vitality of the city when it is safe is not rendered to stimulate the emotional resonance of loving human beings. ruins. Instead of this, the scene is limited to the Great Wall, and the perfect self-circulation system of the Great Wall is done. The surprise begins with the built-in huge gears and elevators, and ends with the melee combat capabilities of human groups that are seriously inconsistent with military prestige - more like literary and artistic soldiers who practice the guard of honor all day, and the imagination of actual combat applications is a bit timid.
As a Hollywood blockbuster, I feel that I need to criticize the film for its lack of stereotypes and limited dramatic conflict. It is simply like an episode of a TV unit starring Matt Damon, so as to explain why his The good brother will live to the end (fixed supporting role). But the fact that a good brother makes mistakes and does not die is actually quite pleasant. This is the elasticity that human nature should have.
If you only depict the clinging to the Great Wall, like the oriental situation depicted by Kafka or Yourcenar, the distant royal city is like a flashy fantasy, and the dubious emperor interferes with all kinds of hostility on the front, but his power diminishes along the way, passing on The Great Wall is already very weak, and sporadic favors cannot stir up waves in the tired crowd. In order to defend human beings, the soldiers guard the Great Wall, just like on an isolated island, living an absurd and bizarre life, relying on each other for life and mutual support with monsters. Life, infiltrating each other, and losing both sides.
Too bad it's not that kind of movie.
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