It's really easy to fall into the madness of reputation emotionally. However, even if I calm down, I still feel that these comments are not excessive. Wanting to come to Germany is just to maximize the rigorous characteristics of the nation and tell the story more satisfactorily. It easily crushed a so-called American blockbuster in narrative.
In an era when everyone's reading volume starts in the thousands, it is easy to have a guilty conscience when talking about masterpieces. Either the movie is not enough to watch, or it is pricked by a special point in a movie to magnify other parts. And "Who Am I" did not deliberately show off their skills in any aspect. In fact, social engineering is not so difficult to understand, and the life of hackers is not so creepy. Even the use of masks is reminiscent of the V-Vendetta, so it doesn't feel so amazing. Even the waves of reversals are just repeated overthrows and repeats of tricks.
However it is still super cool. It uses all the elements of the youth commercial film, but it talks about too many possibilities in the 100-minute snail shell. As Benjamin reminded us at the beginning, this is a net, not a line.
In terms of rhythm, to be honest, I am quite surprised. This is a movie with a length of time for standard theaters. It is not a kind of artistic work that is left to the director or screenwriter to express his personal thoughts and slowly narrate. In recent years, suspense or drama films seem to have the subconscious mind that is less than two hours afraid of burning the audience's brains, and works like "Following" that have a clean narrative within 70 minutes have become less and less common. But "Who Am I" proves: As long as the relationship between the characters in this story is unique and close enough, it is entirely possible for us to fully present the growth trajectory and psychological construction of the characters in the expression without nonsense.
Recently, I have been very vigilant. The most common mistake a character makes is stereotypes. Of course, screenwriters with a little bit of skill will set several aspects of performance on the characters, but this setting is only to ensure the fullness of the characters, or is trying to establish a connection with the whole story in terms of character and background. Hannah's past is her weakness, and it is also the reason why she finally let Benjamin go. She is easy to be stereotyped as a cold queen, and the past is easy to be two-sided, but in the end she actually knows the truth about Benjamin, smiling but not speaking, is the deeper side of this character.
At the same time, we are also wary of the limitations of human nature. People who cannot be covered by a few words are good people. The best thing, of course, is that no character can stand in line with good and evil in general. Do you think Benjamin is a bad boy or a master? He no longer needs to use pros and cons to define it. There is no need to discuss justice and evil here. This is a world where only intelligence is supreme. What's more interesting is that it doesn't completely regard the wise man as the king. The strength of the two sides is equal, and in the end it becomes a concession that is more effective than any chicken soup. Why tragedies and comedies are called dramas, that is, in terms of life, the ending of the story should be that everyone has his place, and no one is punished.
In this sense, I think this is a full-scale youth film. Compared with those campus slapstick loves that collage youth elements and youth stories with full strength, "Who Am I" viciously spit out a smoke ring, to the face of the so-called adult, to the entire adult world. Although it still seems naive, you will find that these boys have the best minds of the times, and the things they do are extremely evil and unbelievable. But this is the real heart without hindrance.
It is this era that keeps them unobstructed. Because the absurdity of the disappearance of the Three Laws of Robots was discussed in "Super Charpy" before, I felt very interesting and cordial when I saw the three laws I tried to propose in this film. ——But this kind of goodwill did not last long, because I immediately realized that the three here are not borderline, but a smirk: We are committed to breaking the border.
This is truly postmodern. Do things by ability, abandon moral constraints, use talent to the fullest, anti-social, multiple personalities, leaving only some emotions. It’s cold enough, it’s young enough.
Sometimes directors are too timid and too lazy to use their brains, all day long, expecting to use something like great love in the world to extinguish the evil of human nature. In objective reality, this kind of thinking is the best, but it is far from omnipotent. It may be that only a nation such as Germany that has gone through some special evils can turn the understanding of terror into a course that everyone must go through in life, face it, and then use the same wisdom to solve it.
There is no need to count on what kind of movie this is, our pursuit of the movie is too much. In the split point of view, many elements in the film are also paying tribute to various predecessors. There is no need to try to build an entire new world. Since there is nothing new under the sun, all we can do is use the existing pieces to build new stories. In fact, this is more natural, and can seamlessly travel between the virtual and the real world at the same time.
It's like throwing a snow country train in any scene of torture, and throwing a handsome boy pretending to be a pig and eating a tiger in any gang movie. What is rare is that this pot of soup has a richer taste and has not become rotten. NS. Just like in other comments, the setting of the subway scene cleverly uses a few seconds to clearly express the meaning of a few minutes or even dozens of minutes. The language of this film has reached the point of exquisiteness. Those narrative switching It’s just right, the golden ratio of the picture, the overall color scheme, and the sound control that I didn’t find until the latter half of my sluggishness. Most of the time it looks like the most mainstream commercial film as a whole, but from time to time there are natural screen changes, slow rhythms and emotional expressions of characters, which can make people realize that this is not a simple explosion. Rice flower works. It has its heart, and it has all the details.
This is sincerity. We appreciate movies and consume movies. We don’t want every film to bring any shock to the soul. Tell a story down-to-earth, and can tell a special profession that it feels happening around us. It is also a flattened part of this era. Kind of outstanding performance.
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