Thanks to Grape Tang's introduction, yesterday I finally watched Jay's directorial debut, a secret that can't be told. The performance of the actors is to be expected, Jay Chou is still as cool as the initial D, Xiao Gui is still as lively and lovely as the inside of the blue door, and the interpretation of Lu Xiaoyu is very reliable. Smart and well-behaved, with good-looking short hair, vaguely ambiguous, with a little mysterious temperament, and hidden great pain that cannot be said under the gentle appearance, such a role should be able to arouse the turbulent love and desire for protection of most boys. Well I actually like it too. In contrast, the screenwriter is a bit lackluster. The story is not a bad story, but how it is told is particularly important. Many contrived details show the immaturity of the screenwriter, and this feeling of pretense permeates the entire film, dialogue, plot, and even scenes. For example, the exquisite and classical CD shop has a fake atmosphere. And Jay Chou liked that song so much, why didn't he buy it and listen to it at home, instead of being a melancholy and lonely ronin in the store. Maybe he also realized this ridiculousness himself, so he asked the younger brother in the store to ask himself, trying to explain it with his personality, but this explanation made people feel that the description was getting darker and darker. The most depressing part is the super-long puzzle-solving chapter of thirty or forty minutes in the latter part. Originally, when I saw the instructions for the use of Secret's piano score, I believe that the audience had already realized the whole story, including in the next plot, Jay Chou will perform the magic trick of the piano and travel through time and space to find her, which can basically be guessed. At this time, the screenwriter chose to slowly rehash what the audience already knew, which is really outrageous. Especially when they saw the words that had already been guessed being written out super slowly one by one on the table before, the audience should be mad. Later, in the time and space of Xiaoyu, they saw those words and wrote them again, and they were still the same. Every word you write has a camera, you are not forcing people to change the channel, Jay Chou? The protagonist with a strong sense of mystery is indeed a bit challenging to shape. The characters have to hide their work, and occasionally deceive the audience, so the image will inevitably be a little weak. But there is too much pen and ink, and the sense of suspense will be lost. Jay Chou's choice here is to ignore the frailty first, pursue the mystery with all his strength, and finally come to a super detailed and comprehensive first-person perspective to reveal the mystery. Brother, this kind of thinking is too student-like. It doesn't look like serious creation. There is a movie called "The Magician". I like it very much. The protagonist is very mysterious, but it is also complete and full. The final puzzle solution is lightning-fast, the amount of information is huge and the point is stopped. This is called professional suspense. In fact, Jay Chou finally returned to the past. It can be touching, or it can be tortuous. who knows a picture The film was explained and then the film went over directly, it was just embarrassing. The plot of the graduation party tells us that Secret has traveled exactly 20 years, so Jay Chou should only find Xiaoyu's body when he goes back. The plot of writing is even more strange, the table and correction fluid are not enchanted, how can this vision happen. It should be fine or not, it should be slightly or not. When I saw the house being demolished, I couldn't demolish the old one, I really hope that a digging shovel will smash that kid into the air. When I went to the sappers and the bulldozers again, when the Sparashi lob came out inexplicably, the scene of Karen Mok's pistol and machine gun in the King of Comedy finally took out the bazooka in my mind...
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