Other than that, as long as you don't look at it in the eye of a suspense movie, this is an excellent movie. In fact, most of Monk's influence is only in the first half. When Liu Qingyun grabbed the gun and fled and his wife appeared, the style of the film immediately changed from a relaxed and romantic taste to pure black, especially when Liu Qingyun saw An Zhijie's Psychological - As a thin boy, this blackness begins to gradually overwhelm each character. In general detective films or suspense films, no matter what extraordinary actions the protagonist makes, the audience will often consciously lean towards the protagonist and justify the protagonist's extraordinary behavior in accordance with the ever-changing moral standards. So if you look at it for 24 hours, no matter how perverted the jianbao is to extort a confession, at most it will only be stimulated by the senses and will not cause doubts psychologically. But after halfway through this psychological approach, Lao Du suddenly pulled away the psychology of the character and the audience, gradually stripping away the sense of immersion, so that you no longer look at the event from the perspective of the participant, but a cold-eyed attitude ——The most direct externalized expression is the top-down shot of Lao Du’s iconic “Climbing Space + Static Character Layout” in the second half. Such scenes continued to appear after “Gun Fire”, and they reached the pinnacle in “Exile”, when the lens As you gradually rise, you have reverted to an omniscient perspective, and no character is clean. The extreme emotions created at the expense of details are ready to come out in this static friction scene, and everyone is almost driven to a dead end.
Apart from this, the film also does a good job of narrating from two perspectives, especially the 7 people in Lin Guodong's heart. Although only women and fat people can really stand up among the 7 people, the battle of 7 people is better than 2 people. Much more powerful, especially the use of mirrors in the final scene. This prop has been very popular in literature and film since Edgar Allan Poe used it as a way to show multiple specializations in William Wilson. It is used here again. Although it is a bit old, it works very well, especially when it is broken. The mirror reflects everyone's inner darkness, coupled with a unique looking down mirror, a sense of depression blows.
However, apart from the corresponding narrative, Lao Du's progress is not very big, and it is basically the same as in the past, but the good news is that he finally returned to the entanglement at the beginning of the galaxy image at the end, which is not so harmonious.
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