The name of Siberia and the actual trip to Siberia have formed a unique charm for the film. Travelers and fans are attracted only by the authentic travel style in the film. The new Russian style presented from a standard European and American perspective is tainted with the mystery of world politics and historical prejudices between national politics. The gaping understanding of the magnificence of the former Soviet Union and the lack of security of the new Russia has made the film's preconceived appeal even more attractive.
In the clichés of suspense and horror, the inner skills carried by "Across Siberia" are by no means the level of sensory stimulation performed by ordinary entertainment movies. In the initial framework, the topic of strangers is the first hydrangea to be thrown, facing the communication crisis between modern people. All audiences will understand that there must be a problem with the amiable and interesting people the heroine and heroine meet in different places. This is not the poor screenwriting ability, but the social problem throughout the era, the familiar but full of crisis stranger complex.
The gap in the film's narrative is always the humanity. The scars on the passengers and the vast snowy field outside the window match the culture of Siberia. These details are quite cute, not only the humanistic world and natural landscape presented are true and reliable, but also highly exaggerated the inevitable physical and mental anxiety and anxiety of European and American travelers in the former Soviet Union, creating a foundation for psychological panic, step by step to promote the plot to shake off the burden. .
"Cross-Siberia" has never been the kind of movie that kills and kills the senses. As the plot progresses, the protagonist's inner complex desires are ready to emerge, which can be regarded as an important guarantee for the success of the film. This kind of self-desire from deep heart brings enough depth to the film with the appearance of pressure and stimulation. Emily Modimo's performance is quite outstanding, she interprets her wife's self-contradiction, as well as the physical and mental changes before and after the sudden incident.
The vast snowfield is paired with a weak but super-high IQ and determined woman, which is the highlight of the film. This mature woman who is flesh and blood, independent but also full of emotions and desires is extremely realistic. Under the guidance of the director, the weaknesses of human nature are also extraordinarily clear. Almost all character behaviors have not been modified, and are naturally displayed in character behaviors. Sometimes, the audience may even explore the depths of the characters and feel the same panic and tension.
Murder occurs in a confined space, such a movie must reverse the plot at the key point. In fact, the film, also known as "Murder on the New Orient Express", is too far-fetched. This film is a fictional feature film. When the plot tension develops to a certain level, the reversal of the climax is the huge key to the success of the film. The conflict in the snow, the crazy self-defense behavior of women effectively ended the sense of crisis and suspense created before. It can be said that the arrangement of the character's death is still impactful.
Before the woman returned to the car in despair and found her husband, the movie was always wonderful. This is a turning point related to the success of such movies. The key lies in how to compile and process the subsequent plots. Most of the movies have been staggered here, and the name is not self-justified. In fact, it is indeed lacking in the improvement of the story, and the wisdom is exhausted. Perhaps, the previous narratives have invested too much energy and imagination, and it is inevitable that they will eventually turn into sorrow.
"Across Siberia" almost continued the important drawbacks of this type of film. After the climax, the director rushed straight into the Hollywood thrilling clichés. Characters like Detective Poirot appear with the professional killers, and the protagonist who is as weak as a chicken stage a chase and kill drama. Moreover, various passages are full of powerful dark inside stories that are alluding to political prejudice, which, as always, vilifies the imaginary enemy in the mind.
This kind of treatment is understandable, because the film is bound to be full of entertainment, and without gunfire and car crashes, most of the audience may be lost. However, with the start of Hollywood action dramas, the good humanistic impressions and psychological copies accumulated in the previous episodes are all gone. The signs of the film suddenly become a reasonable escape from a "civilized man" in a chaotic and savage remote place, thus taking the opportunity to propose a sense of geographic accomplishment like narcissism after a family love.
A woman who has moved her private thoughts and controlled it by extraordinary means, a strange and categorized as a savage journey, it seems that a detective appeared on the Orient Express, from Beijing to Siberia, the director has worked hard for more than N minutes, but was unable to To cover up the embarrassment of being forced to say sorrow in the end. "Cross-Siberia" is essentially based on the humanistic atmosphere of people with different ideologies. It is difficult to conceal the existence of the psychological appeal of overriding the other party, thus transforming a two-thirds successful film into a psychologically curiosity mentality. .
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