The ugly words are at the front, the biggest weakness of the film is the incomplete relationship with the characters. Yuchi hated Di Renjie so much that he was willing to help him, but the ups and downs of his mentality were not shown at all, so that at the end of the big boat he slapped Di Renjie in a big way, which made me feel embarrassed. In fact, it's not just the two of them, Di Renjie, Rui Ji, Yi Tuo and Yu Chi always have an inexplicable sense of alienation in the film, it feels like a few strangers who don't call at all are pretending to be good friends. The only character setting that is a little practical is to put Di Renjie as a scholar. Compared with Andy Lau's Di Renjie, he is less domineering and aggressive, and has a fledgling youth. Therefore, when Di Renjie and Yuchi stand together, their momentum can always be compared to the past, which makes me satisfied. As for the rationality of the story, I just want to ask you a question, since the monks of the Eastern Land Tang Dynasty were able to subdue four monsters for themselves, after 81 calamities, why couldn't Di Renjie under Wu Zetian meet the poisonous dragon king and the giant beast? . The "Di Renjie" series has never been characterized as a martial arts or a pure suspense film from the very beginning. Tsui Hark's creativity can do whatever he wants, why should we restrict our own thinking?
The opening of the movie is the highlight of the sea monster attacking the warship. This paragraph shows Director Tsui Hark's ambition in visual effects. Before the audience is ready, he succeeds in substituting everyone into the mysterious and treacherous capital of Luoyang. Then Di Renjie's appearance and Yuchi and Yituo's relationship between friends and enemies to investigate the mysterious case of the Dragon King, the whole story does not need much complicated interpretation, although it seems that such a story framework is just a cliché change of soup There is not much freshness in not changing the medicine, but it is not. The selling point of "Dragon King of Shendu" is not the action fighting of martial arts, but the magical poison and fantasy monsters. This time, Tsui Hark has set the rarely heard Gu poison as the core to guide the story, and the villain is also set as the unfamiliar Dongdao people. These fresh elements fit the story very well, even if it makes people feel that it is a bit too imaginative. But you have to admit that it really sucks.
Of course, this is largely due to the excellent 3D technology of the film. Before that, everyone would criticize the 3D film in Chinese as being too rough, purely to deceive the audience's pocket money, and "Dragon King of Shendu" is definitely the conscience of the industry masterpiece. The depth of field highlighted in front, back, left and right under the large panoramic view, combined with the Qimen hidden weapon constantly flying towards the screen, often makes people dodge left and right. What's more, director Tsui Hark really presented us a giant manta ray in the final final battle. There was a gorgeous battle between humans and beasts. The flying wood chips and the surface details of the monsters are sincere. Gives a great surprise. We can't ignore the action design in the film, because several young actors have no martial arts background, and director Tsui Hark's quick editing style starting from "New Dragon Inn", it is difficult for us to find traditional sets of moves in the film. play. Instead, it is an elegant jiu-jitsu-like fighting that uses physical toughness. Almost all the action scenes are using light work, various gorgeous turns and leveraging between buildings, in a very three-dimensional 3D. With the support of technology, it is extraordinarily elegant, especially the cliff play on the cliff is the most representative.
Paying too much attention to action scenes will inevitably lead to weak plots, and the suspenseful reasoning of "Dragon King of Shendu" is slightly inferior to the previous "Empire of Tongtian". However, this can still be interpreted as the reason. This time Di Renjie always arrives at the clue location one step ahead of the villain’s plan. There is no absolute passive and active between the good and the evil, and they are all moving along the same goal. . In order to strengthen the visual expression, director Tsui Hark used the pictures created by virtual technology to promote the plot in some plots, thus weakening the suspense of the story. But this is still one of the highlights of the film. When Di Renjie just entered Dali Temple and deduced that Rui Ji was robbed, the robber's weapons and the layout of Luoyang City, these jumping thoughts of reasoning in Di Renjie's brain were visualized through the picture. , quite pleasing to the eye. However, we have to say that the chain reaction brought about by this move is to compress the three-dimensionality of the characters. Several characters can only say that they perform their respective duties to complete the task. overall impression minus points.
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