When I was sorting out the notes, I found out that the movie has been quietly split and the release is indefinite. It is still Mark’s own film review, recording the real impression, which is worthy of his persistence in the fast-paced and almost misses the machine, and there is a high probability that he will not write a long review in the future.
"The Party at South Station" is an author's film with obvious advantages and disadvantages. The stylization of Director Diao is vividly displayed with the strong financial support of this film. Most of the scenes have inherited the mantle of German expressionism, the use of shadows is very clever, the black light and shadow in the cramped and humid space expresses a sense of depression and destiny, and the bottom-level characters are trapped in an alternative utopia where right and wrong are divided between good and evil. The battle has given the film a typical noir quality. But at the same time, the use of a large number of high-saturation colors makes it different from most classic noir films, like the neon rainy night in the movie, which is weird and intoxicating. There are many scenes in the action scenes, the scheduling is excellent, and the details are quite innovative. If they are fixed in individual scenes, there will be oil painting-like texture and the attitude of Japanese Bushido, but the action design tends to be realistic. This kind of strange conflict feels to me personally. It is very novel and may have criticisms from others, but it is still a new exploration of violent aesthetics, which can poetically turn some bloody and violent scenes, reflecting the director's quite advanced aesthetics. The same violence, I personally feel that Quentin's publicity is not as poetic as Diao Yinan's, and the blood and blood that has been tempered by the subtlety of the East should be more appetizing to the Orientals. Although the scale is very rare in the mainland, it should not touch the bottom line of public screening and censorship. The director's scale Mastery is very precise. Although the erotic scenes with bare flesh are handled well, one part feels superfluous, and the other part, I am more concerned about the lack of emotional and logical language, that is, the lack of emotional motivation. The overall feeling of the movie, as other film critics have said, makes people think of "Drive" and "M is the Murderer", the hybrid of the two, like Los Angeles under Frain's lens, not like Los Angeles, but under Diao Yinan's lens. Wuhan is not Wuhan either. The whole dialect adds a sense of foreignness rather than a sense of place. The chaotic and undifferentiated situational shaping makes the entire film context reveal despair and depression. You may think it appropriately reflects a corner of the city. You may also think that it exaggerates the dark side of domestic society and achieves a kind of "alternative empathy" with Western audiences. Here I belong to the former for the time being, and I will make an evaluation after the domestic release. The most worthy of complaints about this film is the script of the movie. Diao Yinan mentioned in his post-screening interview that he was worried that the story was too contrived. Sex script, so why play it? It's all about the director's charisma ("resume"). The core of the movie's story is very simple, and it originated from a news sentence that Director Diao saw one day: a fugitive asked his best aunt to report him when he was a child, so as to receive a bounty. However, such a sentence is clearly not enough The capacity of a movie, so the director expanded a lot of plots, and said a sentence: it is an impossible task to give a bounty to his wife, and the male protagonist still completed it despite all difficulties. The first 1/3 of the movie is the cause of the story, the rhythm is tight and online, the middle 1/3 begins to expand the context, there is still expectation, the latter 1/3 is obviously dropped, and it looks broken after dragging. There are signs of branch lines, but they all stop abruptly where the words are not finished. The blank space is advanced, but it is a bit flooded, and the non-linear editing also exacerbates the fragmentation of the plot. The whole article lacks emotional climax and ups and downs, which makes people feel Difficulty immersing in empathy. Compared with the relatively complete story and reasonable narrative rhythm of "Fireworks in the Day", the audience of this film is probably not wide. If you are looking forward to a suspenseful crime type film, you may be very disappointed. (Spoiler alert) The entire story outline is not complicated, but under such a simple plot line, there are still some parts that cannot be logically consistent. Various so-called reversals cannot stand scrutiny. The plots are forcing "self-justification" for a minimalist story core. And some parts of the plot logic even made me wonder if I missed something in the overly gorgeous light and shadow effects. For example, Zhou Zenong asked his brother-in-law to find Yang Shujun, but he did not directly let his brother-in-law report him, and then split the money to his relatives. Sister, is it that you would rather believe in the "righteousness" of a swimmer who has never known her before, rather than the flesh-and-blood relationship between siblings? At the end of the film, Yang Shujun and Liu Ai'ai looked at each other and smiled, and walked side by side in the eyes of the police captain "seems to have seen you somewhere", which also made people feel quite deliberate. Are they mocking the IQ of the police force? Of course, I have to say that the scene of the policeman happily taking pictures beside Zhou Zenong's body not only reflects the dark humor, but also shows that the director did not intend to create an absolutely positive image of the police force. On the other hand, they all tend to be more "square", and it cannot be ruled out that the director did it deliberately, just like in the cat-and-mouse game we like to watch, the fool is always the cat, and the cat-walking is always the mouse, but if the plot logic is not enough Smooth, the look and feel is discounted. Advanced, but a bit flooded, and the non-linear editing also exacerbates the fragmentation of the plot. The whole story lacks emotional climaxes and ups and downs, making it difficult to immerse in empathy. Compared with the relatively complete story and reasonable narrative rhythm of "Fireworks in the Day", the audience of this film is probably not wide. If you are looking forward to a suspenseful crime type film, you may be very disappointed. (Spoiler alert) The entire story outline is not complicated, but under such a simple plot line, there are still some parts that cannot be logically consistent. Various so-called reversals cannot stand scrutiny. The plots are forcing "self-justification" for a minimalist story core. And some parts of the plot logic even made me wonder if I missed something in the overly gorgeous light and shadow effects. For example, Zhou Zenong asked his brother-in-law to find Yang Shujun, but he did not directly let his brother-in-law report him, and then split the money to his relatives. Sister, is it that you would rather believe in the "righteousness" of a swimmer who has never known her before, rather than the flesh-and-blood relationship between siblings? At the end of the film, Yang Shujun and Liu Ai'ai looked at each other and smiled, and walked side by side in the eyes of the police captain "seems to have seen you somewhere", which also made people feel quite deliberate. Are they mocking the IQ of the police force? Of course, I have to say that the scene of the policeman happily taking pictures beside Zhou Zenong's body not only reflects the dark humor, but also shows that the director did not intend to create an absolutely positive image of the police force. On the other hand, they all tend to be more "square", and it cannot be ruled out that the director did it deliberately, just like in the cat-and-mouse game we like to watch, the fool is always the cat, and the cat-walking is always the mouse, but if the plot logic is not enough Smooth, the look and feel is discounted. Advanced, but a bit flooded, and the non-linear editing also exacerbates the fragmentation of the plot. The whole story lacks emotional climaxes and ups and downs, making it difficult to immerse in empathy. Compared with the relatively complete story and reasonable narrative rhythm of "Fireworks in the Day", the audience of this film is probably not wide. If you are looking forward to a suspenseful crime type film, you may be very disappointed. (Spoiler alert) The entire story outline is not complicated, but under such a simple plot line, there are still some parts that cannot be logically consistent. Various so-called reversals cannot stand scrutiny. The plots are forcing "self-justification" for a minimalist story core. And some parts of the plot logic even made me wonder if I missed something in the overly gorgeous light and shadow effects. For example, Zhou Zenong asked his brother-in-law to find Yang Shujun, but he did not directly ask his brother-in-law to report him, and then split the money to his relatives. Sister, is it that you would rather believe in the "righteousness" of a swimmer who has never known her before, rather than the flesh-and-blood relationship between siblings? At the end of the film, Yang Shujun and Liu Ai'ai looked at each other and smiled, and walked side by side in the eyes of the police captain "seems to have seen you somewhere", which also made people feel quite deliberate. Are they mocking the IQ of the police force? Of course, I have to say that the scene of the policeman happily taking pictures beside Zhou Zenong's body not only reflects the dark humor, but also shows that the director did not intend to create an absolutely positive image of the police force. On the other hand, they all tend to be more "square", and it cannot be ruled out that the director did it intentionally, just like in the cat-and-mouse game we like to watch, the stupid one is always the cat, and the cat-walking is always the mouse, but if the plot logic is not enough Smooth, the look and feel is discounted. Wei Yang Shujun and Liu Ai'ai looked at each other and smiled, and walked side by side in the eyes of the criminal police captain "seems to have seen you somewhere", which also made people feel quite deliberate. Are they mocking the intelligence quotient of the police force? Of course, I have to say that the scene of the policeman happily taking pictures beside Zhou Zenong's body not only reflects the dark humor, but also shows that the director did not intend to create an absolutely positive image of the police force. On the other hand, they all tend to be more "square", and it cannot be ruled out that the director did it intentionally, just like in the cat-and-mouse game we like to watch, the stupid one is always the cat, and the cat-walking is always the mouse, but if the plot logic is not enough Smooth, the look and feel is discounted. Wei Yang Shujun and Liu Ai'ai looked at each other and smiled, and walked side by side in the eyes of the criminal police captain "seems to have seen you somewhere", which also made people feel quite deliberate. Are they mocking the intelligence quotient of the police force? Of course, I have to say that the scene of the policeman happily taking pictures beside Zhou Zenong's body not only reflects the dark humor, but also shows that the director did not intend to create an absolutely positive image of the police force. On the other hand, they all tend to be more "square", and it cannot be ruled out that the director did it intentionally, just like in the cat-and-mouse game we like to watch, the stupid one is always the cat, and the cat-walking is always the mouse, but if the plot logic is not enough Smooth, the look and feel is discounted.
When it comes to the performance of the actors, it is quite interesting. On the whole, the film focuses on the "art" of the director, not the "skill" of the actors, so people don't know how to evaluate the "acting skills". Some film critics say that the director is "accommodating" to the acting ability of some actors, but Liao Fan, who is the best actor in Berlin, has very little room for performance in this film. color. On the contrary, Gui Lunmei, who has a cool temperament in "Fireworks in the Day", has the largest performance space this time. Compared with her previous roles, her breakthrough is also relatively large, but it may be limited by her own established temperament, and the role's The distance is too far, and you can see her efforts to integrate, but Zeng Meihuizi, who has only "a glimpse" in the film, is obviously more in line with the film's environmental temperament than her. I secretly think that every actor has its own "uniqueness", and the director's in-depth exploration of the actor's temperament and ability is necessary, but deliberately "going against each other", too challenging the audience's perception, whether it is a little more effective. The above feelings apply not only to Gui Lunmei, but also to Hu Ge. He is not incapable of being a tough guy, but he is not an expressionless and unwavering stiff, erasing his original aura and attractiveness, relying on lust and violence to reshape the actor's screen The image, I personally think, is too laborious, and it is difficult to support the emotional core of the whole movie. Above, in fact, the choice of the director has nothing to do with the actors themselves.
The last few words, back to Hu Ge, my favorite actor ever. Although he humbly regards himself as a "newcomer" in the movie, in contrast, his project selection in the years after "Langya Bang" is not invaluable. He has heard that there are many famous directors and editors who have shied away from the project. . As for the reason for one film in three years, it is said that the visit to the Cannes front line did not give him the creative motivation to find a project. This answer also has the confidence of the hero of the film in the main competition unit of Cannes. Therefore, all my expectations have finally settled on this movie that has been selected from thousands of choices, especially how he will play. Unfortunately, it may be too long, and there are those projects that I have heard about in the past. Contrast, so that personal expectations are too high, at this point I was disappointed. If I can revel in the subtle contours of the body and face on the big screen, maybe I can still take solace, and when he sings "Beautiful Thoreau" with a clear voice at the end of the credits, I decided not to judge his acting skills, Because his voice reminded me that he wasn't in the right role. After waiting for a work, you can step into Cannes, but it is not one step away from acting like a movie star, nor can you wait for it. Years of polishing of works have made Liao Fan's current "a look that can't be written in a piece of text" (is it Jiang Wen or who said it? I can't remember), and there was a lot of discussion after the screening of why Liao Fan was not allowed to play Zhou Zenong , I remembered that in the past I secretly hoped to wait until one day I could hear comments like "Why not Hu Ge performing XX", and then now, a few years later, after watching the movie, I found that it seemed to be too much. Above, this year, due to personal reasons, the most anticipated movie, the look and feel is roughly the same, with a slightly heavy personal emotional color, Samsung, half.
Note: Three-and-a-half stars are real feelings, and one-star is an emotional score. The reason is that I am annoyed by the harassment of Hu Ge fans who have nothing to do with the movie itself.
After the second review of the domestic theater chain, I added: When I watched it abroad, it was probably difficult to use the language. The domestic version of Yang's younger brother said that "people with a criminal record will not get any money to report it." This is something I didn't pay attention to at first glance. The bug here is that I ignored.
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