If "Sword Rain" is really filmed by John Woo, Michelle Yeoh will definitely be a man from the beginning. The two men showed each other with their own hearts and souls, and finally jointly resisted the sinister and cruelty of the outside world. Of course, if it spreads like this, many people will naturally be able to see the shadows of White Horse and Tsing Yi jumping among the flowers, and they will also begin to smell the "New One-Armed Swordsman". I am running water, not far away.
Due to various misinformation in the propaganda, both the trailers of "Jianyu Jianghu" and "Jianyu" have magnified the conventional martial arts elements in the film, so that people can't get much interest and attention. Of course, this may be a measure to seek insurance, in order to capture the audience who have the most fixed knowledge of "Martial Arts Movies". Originally, exaggeration was an understandable means of publicity, but along the way, the pattern of the film gradually became more and more like a sketch.
Until we see the main film, we will not be surprised that the so-called thunder, the man with the hat, the hand clenching the weapon, and the soaring action on the eaves are not the highlights of this film, and some of them can only be called It's just some passages that support the positioning of the film itself. Originally, these things should be "cool", but "Jianyu" is indeed "cool" elsewhere.
Su Zhaobin clearly uses his method to restore a class of martial arts films in Taiwan in the 1970s and 1980s, in which the light human feelings and strong market conditions are completely different from the way that Shaw Brothers and other big labels used to shoot gorgeous studio shows. The overhead rivers and lakes created. But later, this taste slowly dissipated due to the inability to compete with the tricks and hilarity brought by the mature industry in Hong Kong. (Hu Jinquan left some things to pass down, but slowly walked in other directions) In "Crouching Tiger, Hidden Dragon", Yu Xiulian smiled and mentioned to Yu Jiaolong that "if you can't take a bath, you can't sleep because of the bite of lice and fleas". This is what Jianghu should have looked like, but it doesn't mean that it's the only way. Whether it is in the forest or hidden in the city, if you really connect with the earth, the relationship between people will show a special charm. Besides, there are many different perspectives on how to understand the world that does not actually exist.
It's easy to photograph "man" as "man", because that is the dream of every ant who looks at the sky and tries to fly, but photographing "man" back to "man" cannot be done just by talking. The opening of the film is almost a narration, just to free up time, so that there is nearly 20 minutes in the middle to shoot trivial details, as fine as buying a few kilograms of rice, as fine as a window, a door, and a piece of board. Next, when Jiang Asheng ran across the streets, he should try his best to avoid bumping into people. Because of the distance between strange love and life, we have to rely on this little bit of cute and soft close-up to fill in. If you are looking forward to the smooth narrative of grudges and vendettas, you may indeed feel a little discomfort in the rhythm here.
However, relying too much on the rough and solid background can easily make the imaginary handicapped, and it is even more suspected of running to the folklore film site. Fortunately, the script is relatively brisk, even if the protagonist's line is stained with fireworks, it still looks refreshing and not greasy. Moreover, the director spent a lot of thought on the setting of other characters, making almost every supporting role appear complete and stylish from appearance to ending. It has to be said here that a really good director definitely knows how to put actors in the right place. For example, Shawn Yue is a very modern actor. His temperament cannot be quickly changed by putting on a hood and putting on a beard. So Lei Bin was designed to be a condescending character with a certain sincerity, but he never gave much drama. He can walk out swaying, eat noodles carefully, or lie in front of his wife's bed and tell him everything. Before the possible play, this person is already stereoscopic in the movie.
It's just that there will be some sighs. If Michelle Yeoh took this movie a few years earlier, it would be fine. But even if her face has sagged a little, even if Zheng Yucheng's expression is always dull, even if we know that they must be saying things that they don't understand each other, but the camera captures every warm moment with heart, stay behind Think about it.
But the funniest is also the one most likely to get a negative score after the movie is released. It was Su Zhaobin's effortless spoof.
In Su Zhaobin's arena, there is a reason for the mysterious boss to keep his voice low. Men have a way to deal with a half-naked demon girl on the bed. After meeting with fellow killers, they can make their own supper. In addition to showing off their stunts in front of ordinary people, senior killers , but also single-mindedly thinking about pension insurance. And the final point of the whole story has nothing to do with the status of the rivers and lakes, and has nothing to do with the martial arts competition. It is only similar to the black silk army boss in "Dragon Ball" who spent all human, material, financial, and mental energy to find the real purpose of Dragon Ball. This kind of handling that goes beyond expectations and leads to cold jokes is likely to be habitually pre-read as "thunder point". However, according to Liufenbantang's years of preserved data research, the original Tianlei and the reprocessed fake mines are two completely different things.
Moreover, even the contradiction between literary and artistic lines and passionate actions, which have been almost impossible to coexist for many years, seems to have not been carefully adjusted. The metaphor of "I would like to be a stone bridge" is not new, and the emotions are vague, but Su Zhaobin can give you a layer of lyricism, a flashback, and finally a dissolution. The pure and pale intentions have been enriched since then. When I hear this confession again, I am not tired of repeating the information, but I am really moved.
There is a mishandling at the end of the movie, which leads to serious marks of loss. In a large-scale reversal paragraph, in order to let the audience enjoy the millennium practical drama of "playing as a pig and eating a tiger", Su Zhaobin's handling is very follow the trend. So all the mannerisms and attitudes of the male protagonist here are obviously contradictory to what he showed later in the "Character Emotional Climax". Even considering the reasons for the repeated emotions of the parties, the director did not even say those words in order to escape the more common "love-hate" drama. So in the end, the behavior of the two people holding each other to save each other seems a bit out of force. And to borrow the words of a friend, I will feel that the place that I thought was cute at the beginning was "how scary".
This time, Dong Wei's force of Wu's finger was really used in the actual practice of "martial arts". The repeated use of the sword-taking action was clear and clear, and the completion of a few flaws in the water-bending swordsmanship was also close to what ordinary audiences could understand. The so-called "practical nature" of Lei Bin's flying opponents always emphasizes pick-and-roll and evasion actions, and several other weird weapons are more or less combined with stunts.
Although the water-defying sword is a weapon that is close to cheating, the sound of rippling water attracts a fresh wind from the top of the sky. I hope that there will be a real rainstorm coming, and those who are holding the peony and chrysanthemum will be washed away.
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