Hollywood produces a few good movies every year, of course, there are always more bad movies. In 1999, the group of films that can be regarded as classics was particularly large, and the courageous directors also liked to get together. To make a rough calculation, there are "American Beauty", "The Green Mile", and "American Pie", which have a profound influence on later feature films. Commercial films include "Mummy", "The Matrix" and "Star Wars Prequel", which I personally like. "Eight Millimeters" and "Magnolia", what is even more commendable is the birth of the classics "Fight Club" and "Trumen's World".
In 1999, Fa Ge, who was going downhill, left the only "Anna and the King" that was famous in Hollywood. Takeshi Kitano shot "Summer of Kikujirou", and Hong Kong people used "Unexpected War" to rectify their name— -So, inspiration and genius should be contagious, just like the Hollywood movie in 1994, the NBA draft in 1996, and the prose poet born in 61 and 62.
"Ghost Eye" was born in the "year when 35mm boutiques gathered together", but from today's point of view, it has no effect on it. It is still a crane. This outstanding masterpiece made my cognition of psychological suspense movies rise to a new level-the original real good movies can also be like this.
Although MPAA assigns it PG-13, most European countries have 16 levels, and occasionally some Asian countries have R-levels. But "Ghost Eyes" is not actually a horror movie, not even a horror. I don't remember any episodes where his heart beats fast because of his fright, but I still experience suffocation.
The supreme state of psychological film is not the thrill of the audience being able to be on the scene, but the sadness that the audience ultimately surpasses it-there are only a handful of them that can reach this level, and "Fatal ID" and "Rose Red Lotus" are probably not considered Above, "The Shining" and "Perfume" have the same effect-although neither of these films can be considered a genre.
Personally, in the well-known Hollywood movies, "Ghost Eye" is the top of the top in terms of the technical level of lens language and structure, although it does not have very good stories, pictures, music, special effects, and logic. It reminds me of the great "Butterfly Effect", and of course "Seven Deadly Sins", "Shards of Memory", "Muholland Road" and so on are added.
Many film critics commented this way, "a psychological film that explores family ethics and morality"-I think this statement is too unfair. I am afraid that outstanding directors are bound by these rules and it is the root of their ultimate extinction.
Personally, the translation of "The Sixth Sense of Spirituality" is not as good as "Ghost Eye". The latter is more weird and appropriate, and it is the only word that can clarify the essence of the film.
Mike is a child psychiatrist. He was shot by a young man who had given up treatment. One year later, Mike, who witnessed the young man commit suicide by drinking a bomb, decided to help a young boy, Cole, who also had psychological problems. Cole has a pair of natural ghost eyes, he can see dead people, naturally no one believes in his supernatural powers, and his mother also thinks that Cole has serious mental illness.
Mike used his sincerity and patience to convince Cole to finally believe him, and two equally lonely people joined hands to help a dead girl find the murderer. The boy gradually found his innocence, and Mike untied the knot that belonged to him. He returned to his beloved wife and watched her dreaming sweetly. If the film ends here, I am afraid it will be complete, but the ending really makes me stunned-in fact, this ending, the viewer has vaguely guessed in the film process-but the moment the director reveals it instantly, it is still difficult for you to not. Was deeply shocked.
Similar to "Shards of Memory", even if the first 99% of the foreshadowing is uninteresting, the truth of the last 1% is still jaw-dropping. The fun lies in reminiscing the many details of the previous one and a half hours, and every unsurprising moment has become an ingenious foreshadowing of wit. The director really knows this.
This is a strongly personalized movie, but it is not a movie with a strong personal style. To today’s well-informed audiences, the plot of the story is still a bit cliché — I always feel that it’s either extremely retarded, taking a purely tender or funny route; if it’s your responsibility to test the viewer’s senses or IQ , Then it should be extremely delicate, extremely terrifying, extremely shocking, or extremely outrageous.
Perhaps from the perspective of the box office, although under the banner of horror, the impact of "Ghost Eye" is just unsatisfactory as far as the language of the screen is concerned. The classics of the film do not lie in the bizarre and ingenious plot, and the continuous creativity and imagination, but the seamless structure and the humanistic sentiment that the director always gives to the film.
In fact, the blood, ghosts, and the cry of ghosts and the deliberately created atmosphere of mourning in the movie bring out a certain lack of humanity and the sorrow of the times. Therefore, I do not agree with the statement of "a psychological film that explores family ethics and morals." Instead, I feel that the loneliness permeated all the time in the film is the core object of the screenwriters and directors.
Lonely psychologists, lonely children, lonely mothers, lonely fiancées who have lost their husbands, ghosts of lonely girls, lonely hanged ghosts, countless souls who are lonely not dead but just like death... To
borrow a cliché : Everyone has a pair of eyes in their heart. These eyes are not used to open and see the world, but to close and avoid the world. We have exactly the same loneliness as Keer, but we cannot see or hear after all, so we are much luckier.
I won’t say much about Osmond’s acting skills. Everyone is admiring him. There is probably only one sentence that can explain his genius: "Wife, look at the gods." It’s true, I really think his performance is not human. What can be done, combined with the most mature performances on the planet and what any adult movie emperor does not have, is completely natural-just because this kind of genius exists after all, I don't doubt that there really are ghost eyes in this world. people.
As for Willis, his performance in this film is equally wonderful. Naturally, he is not an extraordinary play idiot like De Niro, nor is he a three-pointed play bone like Hanks, but his acting skills are undoubtedly mature and profound in "Ghost Eyes", painful struggle, tender love, calm relief, all It is rare in Willis movies. As far as acting is concerned, although he has not surpassed Pulp Fiction, it is already his pinnacle.
Willis seems to be the same as De Niro. He has performed well-rounded "Twelve Monkeys" and "Taxi Driver" as well as "Perfect Strangers" and "Lovers" that are so rotten. Probably this is the American philosophy of life. Well—perhaps, the only way to face the soul is to have an extremely casual soul.
Therefore, it doesn’t matter whether most of us’s ghost eyes are closed or not—the ghost is in our hearts, and it’s useless to see through.
This film is worth watching three times. The first time is for looking for shock, the second time is for body odor shock, and the third time is not for any reason. Just watch it quietly. Then there is thinking, those sorrows, pains, fears, deaths, flesh and blood, lonely souls, they first knock you down, then crush you, and finally torn to pieces.
Mike helps a lonely soul, but this kind of help is insignificant from the root. That lonely mind is suitable for being close to death first, and then redeemed—just like no one can avoid the faded ring slipping from the fingertips and crashing to the ground.
But the sadness of fate.
One day, being a movie like "Ghost Eyes" couldn't shock me either—because the surroundings, turning around, and within reach are all ghosts floating around. Is this the progress of the viewer?
Still the sadness of fate.
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