Combining the light-hearted hilarity of a chick movie with the intense thrill of a horror movie, the two alternate.
Because it's a comedy, the plot doesn't need to be so particular, and there are some flaws that are too far-fetched, but it is better than the neat and delicate structure of the script, and the rhythm and fluctuations are controlled very well, enough to make people ignore the unharmonious plot logic.
The entire script is divided into 9 paragraphs (reincarnation), which are shared by the chick style and the thriller style respectively. The protagonist in each paragraph is dominated by a main emotion, and the mirror language works hard to serve the character's emotions.
The first paragraph: The heroine is in a bad mood, creating an inexplicable atmosphere of suspense, and the rhythm slowly rises from a low point. The heroine is killed for the first time.
The second paragraph: The heroine is confused, frightened, and has a few false alarms, eased several times, and a real crisis broke out at the most relaxed time. The rhythm rises and falls like an electrocardiogram, getting more intense as it goes on.
The third paragraph: The heroine panics, asks for help, no one believes, helpless, and turns to save herself. The rhythm is single and rapid, suspended at a higher point. A lot of running account narratives in the process are omitted.
The fourth paragraph: The heroine completely explodes and collapses, highlighting the unstable camera movement with a strong sense of chaos and subjectivity. But Liu Yan Hua Ming found the helper and savior of the male protagonist. The male protagonist begins to formally intervene in the main plot. The atmosphere was on the verge of collapse at the beginning, and the style of the painting changed suddenly in the middle, becoming relaxed and lively. Using a comedic montage, the segment ends in a lighthearted atmosphere. The rhythm is high before and low, with a vertical fault in the middle.
The first four paragraphs are the beginning
Fifth paragraph: The heroine accepts a crisis and a time-limited mission to find the murderer before the real death. The heroine in this paragraph has been in a confused mood and has fallen into the greatest crisis. The middle and back sections return to horror and thriller, and combine with the chase and escape action paragraphs, a small climax, the dark night of the soul. The rhythm of this section is high and keeps going high, slow in the front and fast in the back.
The sixth paragraph: The heroine is dominated by the helpless emotion of accepting fate in the early stage, and finds a turning point and hope in the middle, and finds herself and the truth go hand in hand (one puzzle solving). Rhythm from high to low. In the end, it was a pseudo-victory, and the heroine completed the character arc by self-sacrifice.
Section 5 and 6 is the Development Department
The seventh paragraph: A large space shows the transformation of the heroine, and the mood is optimistic, firm and peaceful. The inner foundation for victory has been laid. The rhythm is moderate and steady. Finally finished the victory. A standard orgasm. gained love.
Eighth paragraph: The reversal appeared, and the heroine fell into chaos again, but quickly discovered the truth in the middle of this paragraph, ushering in the second climax (second puzzle solving). Different from the previous paragraph, which is the climax of the drama, this paragraph is the climax of the comedy, which makes up for the lack of comedy humor in the development department. The rhythm starts from a high point, interrupts violent ups and downs, and turns to a low level after the high point.
The seventh and eighth sections are the climax
Ninth paragraph: Epilogue, a pseudo-reversal.
The smoke bomb of "Dad" is set up, potentially leading the audience to think that "Dad" may be the murderer, because the daughter has been chasing and killing her daughter because of the boring reason of not answering the phone. The result is very bold to set the murderer so casually.
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