Sensory stimulation is still the biggest reason for Chinese audiences to enter the cinema, especially if the 3D effect is a little passable, it must be a good harvest. The good news is that the special effects of this film have basically reached the level of Hollywood's "third-rate blockbuster", or the level of ten years ago, which is a "gratifying" progress. But if the visual effects are dressed in fancy clothes, at least there must be a matching story as the backbone. Otherwise, you can only wear a dragon robe and not look like a prince. What's more, this "dragon robe" looks like a copycat version no matter what.
Congratulations to the director, many of the plot settings you made have a very subversive effect. Empress Nuwa, who appeared on the stage with a round dance, turned the Heaven-Mending Palace into a Heaven-Mending Palace, and the rest of the stone was not in Jia Baoyu's place, how did it become Sun Wukong? Princess Tie Fan became a relative of the Jade Emperor, what should you do with the Lotus Lantern? The ancestor of Bodhi is the ancestor of the earth immortal, how could he be killed in one move? Did Bodhi learn the setting of taking a break when he saw the Bull Demon King? Did he learn it from the Westward Journey of Dahua? In the final decisive battle, Sun Wukong became a giant ape. It is exactly the same as the Dragon Ball, and the Tathagata Buddha, who finally appeared, is even more strange. He is neither here to save the heavens, nor to subdue demons and subdue demons, but negotiated a five-hundred-year prison term with Sun Wukong. And what I still don't understand is that the director added a child's voice to the Tathagata's dialogue to imply something. Could it be that it's just a simple act of cuteness?
Although the cast is luxurious, everyone's performance is extremely exaggerated, and they are all crazy. The Jade Emperor is babbling and expressionless, not to mention compared with Fa Ge's early classic characters, even the cute and foolish Shi Jian played in "Macau Wind and Cloud", which was released in the same period, is more attractive than the Jade Emperor. too much. The masking of the Bull Demon completely wastes the actor Aaron Kwok, who has become more and more sophisticated in his acting skills in recent years. Donnie Yen sacrificed a lot, but the performance was completely unflattering. His cuteness is really unbearable, especially when he thinks of his old face under the mask, it makes one's stomach sour. Not to mention the nature of Liu Xiaolingtong, even the various Monkey Kings who have been messed up over the years have surpassed him by a large margin in minutes. When I watched the CCTV version of Journey to the West, I disapproved of Liu Xiaolingtong's performances, but after watching all kinds of monkeys, I realized how precious his nature is.
Only Chen Qiaoen and the little girl who played the nine-tailed fox are not bad, but unfortunately there are too few scenes. In addition, is it true that in all the stories adapted from Journey to the West, a female protagonist must die before the male protagonists, Sun Wukong, Xuanzang, etc., suddenly hang?
In addition, every time I see the role of the mainland movie, especially the extras who flirt with weapons in the war, I instantly feel like a play. This is impossible in Hollywood. The reason is that the film industry system is immature. Extras say that it is important, of course, but if they say that they are not important, they also greatly affect the final effect of a film. The word hard work is really worth learning from a group of extras outside Hengdian who rely on their daily lunch money.
The modeling movements and even the sounds of various ghosts are at the level of B-level films at most, but they do not have the feeling of CULT. Trying to show the human side has become a cold joke. Sun Wukong's lines to Bodhi's "It's cold in the sky, fly around and wear more clothes" is too polite to say that it is laughable and generous. What kind of cultivating sentiments, vulgar and vulgar, such a dialogue setting makes people feel that the screenwriter's knowledge is stuck in the elementary school level, and many jokes like scratching nests can't be laughed at at all, and the monsters with a life span of 200 years old live to 120 years old. Mai Meng said that he was very small, this kind of idiot setting can only say that the screenwriter's head was broken by the door. In terms of the average life expectancy of humans in their 70s, this is equivalent to a 40-year-old Obasan pretending to be a little girl. The screenwriter is testing whether the audience can hold the heavy taste? Also, are the lines too unrefined? Erlang God is the second master? Who is the uncle, do you think you will play the big house door? What is the difference between malicious slander and malicious damage, can the creators tell the difference? Come on, take the screenwriter out to take the Chinese Level 1 test. Still straying, are you from that corner in the northeast?
What can barely be promoted to the theme of the film, one is the spirit of freedom and liberation represented by Sun Wukong's release of the Heavenly Court Ryoma, and the other is his obsession with life and death, which sets off the irresistible fate of fate. But all of them are just a brushstroke, and there is absolutely no sign or ambition to expand.
Then again, who can turn the Legend of Wukong into a movie?
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