Compared with the previous work, the visual tone of the film does not seem to have changed much. The bright sound and color lights in the dark night and the open space with the airtight taste of Chuyuan martial arts films all inherit the mantle of "Empire of Tongtian", while the action scenes are done again. Based on the "Flying Armor of Dragon Gate", it restores a sense of ritual in Tsui Hark's sense or imitating Hu Jinquan's sense with an "antique" action scene construction method featuring rapid editing of anti-Hong Kong-made movies and the characteristics of boxing and meat. The fights in different situations have this style, and the cliff competition on the night of the duel has the beauty of both surprising performance and stylized movements, making three or four characters dodge and move on the ropes of the abyss. Compared with the last-minute rescue of mainstream Hollywood movies, it is much more dynamic and exciting.
The follow-up in form has certainly become a feature of contemporary costume suspense/martial arts films with Tsui Hark's label, but the intriguing aspect of "Dragon King of Shendu" goes far beyond the film itself. The cast is the biggest highlight of Di Renjie's detective story. From the diligent Mesozoic generation to Zhao Youting, Feng Shaofeng, and Yang Ying, who are extremely lethal to mainstream audiences, they are refreshingly new, and they are the more distinct trends in the Chinese film market, and Carina Lau Continue to play a domineering position, continue to play Empress Wu, who has not yet ascended the throne, forming a wonderful contrast with a group of niche Hua Dan. On the one hand, these actors have gained a good reputation in their not too long acting careers. On the other hand, compared with the "personal struggle" actors of Andy Lau's generation, they show more of the actors themselves, such as Zhao Youting forever. The expression of wanting to cry but no tears, even if it is placed in the cold joke of the film, it is also abrupt. In addition, the entire narrative lacks the design of "suspense" that should have mentioned the most important position, which makes the film inferior to the previous film. Not a lot. The weakness in the play is unabashedly reflected in the undisguised flashback and the weakening of the key role of the "Dragon King" in "Dragon King of Shendu", teaching people to see a son who has become a beast, but Unconvincing how to conquer the hearts of beautiful women.
It can be seen from the "Pacific Rim" style disaster and thrilling sky at the end of the film. It turns out that these vulgar plots and seemingly mindless plots are exactly what Tsui Hark wanted. Compared with the latter, the latter is based on retaining the suspense and uses visual effects to assist the maintenance of the suspense, while the former just sets aside the suspense and allows the viewer to return directly to the pure spectacle experience of action. 3D underwater photography, panoramic view of Luoyang, huge waves, underwater Pegasus, all of which do not need to be thoughtful, just enjoy. In this sense, the "Dragon King of Shendu" makes some critics shout that they are returning to the golden age, which is also justified. However, if the "surprise" displayed in the text of the film is only due to Yuchi Zhenjin (Feng Shaofeng) every time The word "foot" is reversed to illustrate the scene scheduling and visual effects. The overall experience, even if it is exciting, will inevitably be greatly reduced.
"Xinmin Evening News" 2013.10.27
View more about Young Detective Dee: Rise of the Sea Dragon reviews
