The style is remarkable, there are too few such wet and dark styles in Chinese movies. Gui Lunmei continued the fierce situation in "Fireworks in the Daytime", even darker and more diverse. Hu Ge's transformation this time was very successful. The several fight scenes he contributed to the whole film were indeed very exciting. The action design, smooth scheduling, and various novels such as car locks, knives hidden in money, and umbrella killings were as novel. Creative, it is not difficult to see why Quentin praised him. The nasty dialect lines, the punk urban village setting, and the main line unfolding under the strong rural pattern are too eye-catching. Diao Yinan's control over the texture of light is too popular, neon tones, the group of beasts condensed by light in the scene at the zoo, the policeman walking on fluorescent shoes and dancing to Dschinghis Khan's song, Hu Ge, who faces the newspaper on the wall after dressing up. The stream-of-consciousness silhouette and the strong conflicting collisions brought about by the stacking of magical images are so wonderful. If I don't like this story, I can't possibly hate this style and technique. But at the same time, I can see that the director is a little impatient. He may be too eager to integrate some elements that he recognizes into the film. Unfortunately, it is limited by the thin story frame and narrow layout. Maybe if the rough finished film is used to polish the narrative coherence in detail, there will be greater subversion.
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