Under the gloom of the epidemic, the hottest Hollywood movie this year is Nolan’s "Creed". Given his unique influence (or "author's appeal"), he is more confident and more confident than other directors. Responsibility to save the sluggish film market. However, the reputation of "Creed" is far below the "Nolan level" in the minds of the public, so the excessive marketing of domestic media before the release was simply a "to kill" meaning, and this also means that Nolan has established "the masses" for many years. "Basic" failed for the first time. I personally don’t agree with some people saying that this is the result of Nolan’s release of himself. Many of the expressions in this film are "conservative" in my opinion, and still continue his previous suspense-sci-fi genre creation ideas (only " The exception is Dunkirk). The inherent flaws of this creative mode cannot be ignored.
First of all, I oppose that marketing accounts of all channels advocating "brain-burning" blockbusters as soon as they see Nolan movies. Movies are not difficult to understand, at least the concepts are not difficult to understand. The first half of the paragraph seems to throw a lot of information, but it is actually a spy war style routine writing. The high-density character dialogue is also a poor imitation of this type of context. The puzzling reason is that the audience always lacks a complete understanding of the entire task. Nolan has given many pieces of information-since his early work "Shards of Memory", there are many key information hidden outside the pieces. In order to generate suspense, and finally rely on the transition of the character's identity to eliminate the suspense. At the end, we will find that the fate/function of all these characters is clear at a glance. Many comments will mention "character masking". I tend to think that Nolan has created another type of gamer-like movie, one that is constantly resurrected. The nameless person (gives the viewer the right to name even if he becomes a transcendent character-the so-called "protagonist") performs the task of preventing the evil villain from destroying the world, and other characters can be regarded as NPCs.
Earlier when I heard that the film was "Inception" 2.0, I was very much looking forward to it. I thought that Nolan would once again offer a phenomenal commercial blockbuster after a lapse of ten years. But the reality is not satisfactory. But if you have to say that the closest Nolan movie in temperament, perhaps it can only be "Inception". The general plot of both is that the protagonist relies on some kind of high-tech to perform tasks, and the whole film is full of Nolan's signature action scenes. The opening of "Creed" is undoubtedly very attractive. The scene is set in a large theater (perhaps a tribute to Hitchcock). This huge circular space is very effective in highlighting the tension of the action, and it is quite beautiful.
But in terms of the overall structure, from my intuition, it is not as neat as "Inception", and it does not have the sense of rhythm that "Dunkirk" advances in layers. Although a gimmick of a Mobius ring is used in the time setting, it does not seem to matter. Only at the last moment did we get a glimpse of the so-called Mobius ring structure from the fate of Pattinson’s character. As he said at the end, he threaded the needle through the loop of time, and he already knew "What's done" Therefore, his actions are always one step faster than the time mystery we recognize. His trajectory leads the trajectory of time, so his death story ends. It is a pity that the narrative structure of "Creed" itself is lackluster. It wants to show a chaotic system where entropy increases and entropy decreases at the same time. As a result, the audience's perception is also chaotic. The sentence in the movie "don't try to understand it, feel it" , Can be translated as the way we treat it should be sensory rather than rational. Because the world of inversion of cause and effect is beyond human experience, we don't have to worry about the connections in it, just "look".
I think this is also the best part of the film, and it challenges our way of watching. Many people will look at Nolan with a puzzle-solving mentality, but this time Nolan said "don't understand" through the mouth of the character. This may be the author's own attitude. Nolan's movies are not intellectual training, but training in the way of watching. The way of viewing is, in the final analysis, a way of thinking. In the film, the soldier says to the actor, "If you only think about it, don't do it", so the audience must also have a two-way thinking. The language of the heptapod barrel in "Arrival" gives the heroine the ability to predict the future by changing the thinking of the heroine, and the "creed" may have the same meaning. The hero has finally known his future mission, and as I said before the male The protagonist is just the audience's player identity, in the final analysis, this is a change in the audience's thinking.
From the moment the male protagonist walks out of the conversion device, our minds are receiving this kind of training. Birds flying upside down, resistance in the opposite direction, and then escalated there are cars/persons moving forward and backward at the same time, and buildings that explode while recovering. These visual wonders deconstructed our thinking, and how to reconstruct Nolan himself did not make it clear. Different from the strict logic system of "Inception", in "Creed", there will be new instructions/instructions to explain the development of the plot at any time (that is, Pattinson's "universal sticker"). But the ugliest point is "where you want to shoot". At the same time, the problem is also reflected in the large number of inexplicable editing of the film, especially the abuse of parallel montage, which is the same as the criticized editing in "Interstellar" problem. The latter at least has credible emotional support, but the editing of "Creed" is really lacking in logic.
As my favorite director, I have always been convinced that Nolan is an author worthy of recognition. As an author who sometimes exposes the shortcomings of literary and opera, he can always make people shine with his exploration and innovation of high concepts. Of course, its most notable style feature is still trying to explore the tension of traditional action dramas under high concepts (persistence in gunfighting/hand-to-hand combat). "Creed" reflects this style very well at the beginning of the game. Firearms confrontation, hostage rescue, and matching The nervous and rushed soundtrack (Nolan's soundtrack is really getting more and more intemperate), the large number of moving back shots and the way of mirroring in the indoor space are all reminiscent of the opening of "The Dark Knight". All the marching characters are moving mechanically (the most obvious is the group of soldiers performing missions in the final climax). This is criticized by many critics, but this is also the narrative method that Nolan trusts. , That is, to write a mechanical history based on the principle of efficiency. This may not cause any trouble for viewers who are familiar with Nolan, but it will always be a problem that restricts the expression of his works.
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