I'm sorry, I have no feelings for domestic films, and I don't think this level of special effects deserves me to give him two more stars. one star. No more! Going to the cinema is a waste of time.
Turn on the Tucao mode below, don't like to detour.
1. Too much procrastination at the beginning!
Seriously, anyone who watched the trailer knew that the plot of the movie was about a game on a ship. Brother screenwriter, please consider the mood of the audience. I actually made me wait for 30 minutes to wait for you to get on the boat. The 30-minute plot could have been explained in 10 minutes. Why are you wasting my time? I tell you how to delete:
Begin with a confession of being sick - delete!
Are you sick or not, you are performing. You say you are sick, but I think you are not sick after watching the entire film, then you are not sick. The audience doesn't see that you are sick, and you just repeat it 100 times with a broadcast to the audience's ears, and I don't think you are sick either. Does it make sense for you to shout "I'm sick" here?
The male lead borrows money + the female lead is molested by a patient + the male lead beats someone + overheard the director's lectures - delete half
Isn't this part just to stimulate the male lead to get on the boat? The male lead borrowed money but felt that he couldn't support the female lead, so he was ashamed and went to the boat. This matter is not over, what are you doing with so many turns?
The racing scene before the male protagonist gets anesthesia shot - delete!
This whole episode doesn't make any sense for the whole plot. Forcibly interspersed in and disrupted the rhythm of the story.
N-segment male protagonist fantasy monster special effects - delete!
The first special effect is to show that the male protagonist has a sick mind. The audience said: I know.
What about the second effect? What about the third effect? What about the fourth special effect? Every time you special effects are repeating a point of view (the male protagonist is sick), apart from destroying the rhythm of the story, forcibly slowing down the originally tense emotions, the originally slow-paced emotions, and forcibly lengthening the content of the story, what else is there to do? The content of a meaning is repeated 3-4 times (actually there may be a dozen or twenty), ok you said that in order to strengthen this point, I understand that every time it appears for 1-2 seconds, I can get his eyes and brains. , you can't afford to spend more than ten seconds in the subway watching a dozen monsters transform or get killed every time the special effects. Is it because the investor gave you too much money, and you feel uncomfortable if you don’t spend it?
2. The story will only be forcibly reversed, and there will be no suspense. I mentioned a few places where there should be suspense but there is no suspense.
Emotional drama between male and female protagonists: The male protagonist should not reconcile with the female protagonist before boarding the ship, leaving a suspense. At the beginning of the story, it should be said that the male protagonist secretly made up his mind, but the relationship between the two became deadlocked, and the male protagonist left. Whether those two people will reconcile, and whether the heroine will forgive him, is just a suspense, which will be left to the end of the story. It is possible that the male protagonist will return with a full reward, and the female protagonist will find a new love. It is possible that the male protagonist will come home full of rewards, and the female protagonist will reconcile with him. It is also possible that the male protagonist will return with a full reward, and the female protagonist will leave the country. You are in suspense. Besides, this suspense remains. When the male protagonist misses the female protagonist on the boat, you can put one or two paragraphs of memories to kill, (instead of only looking at the box cover every time) to explain the feelings of the two people, and accumulate the audience's feelings for the two of them. With the expectation of being together, wouldn't the story be enriched?
The screenwriter said at the beginning that she was reluctant to part. When the male protagonist gets off the boat, the two of them will happily hug each other. At most, there is a question of whether there is a kiss scene or no kiss scene. The audience can think with their toes that the next two people are happily hugging each other. You said that there is no suspense in front of you, and you must explain the relationship between the two when you get off the ship. The screenwriter pushes himself to a dead end, or he continues with the plot he can think of on his toes, which is a terrible plot; No choice but to choose the first one.
Playing anesthesia: I have already said that it should be deleted. How can I make this paragraph meaningful. That is to let the male protagonist steal a bottle of anesthesia and board the ship. Damn, you've been shown anesthesia. With such a big target prop, you daydream with me and then got shot in the neck? It's all about getting on board. You stole anesthesia, can't you use this item in the game later? How to use this anesthetic can be suspense. (I'm so anxious that I'm going to scream)
3. There is only one plot line, are they all boring?
There are still many plot lines that can be unfolded in this story, but nothing is unfolded, just telling a story. Just like the early Stephen Chow dramas. Anyway, there are still some laughs, and Zhou Xingchi's films are at least compact in rhythm, with many stalks, and the stories are smooth and complete. The key is to be short! Mr. Zhou is smart and has few stories, so he doesn't make long movies. Basically, every movie can be done in more than an hour. You have few plots, and you still have to arrange for two and a half hours, which is self-defeating. Besides, there are no two story lines in the current story that are too embarrassing to take out? Ah, no, the screenwriter just doesn't want to write more. Let me talk about the storylines that could be unfolded but not unfolded:
The second floor of the ship: It only talked about being eliminated and entering the small dark room, but did not talk about what would happen if you won. It is completely possible to open the second floor and open another bet, betting on who will enter the small black room. If you win, you will get 10 million bonus, and if you lose, you will be eliminated. Then hint at the control ability of the big boss.
Rich people's banquet: In the movie, it is only briefly mentioned that the boats make money mainly by betting by the rich. You take a shot of these rich people. Rich people came to this ship with different purposes. Can't the conspiracy between them also start a story? If the budget is not enough, you can also give 1-2 shots, implying the existence of these people, and paving the way for the next few films. The screenwriter did not, so he gave a camera monitoring room with rows of small black and white TVs. I'm also drunk. Do rich people watch this row of small TVs with you? In addition, if you take a picture of the rich man's room, it will not be able to form a sharp contrast with the clothes of the people in the animal world below. This contrast also has a new practical significance. What are you thinking, screenwriter, would rather spend money on special effects than shoot this scene?
Little Black House: What happened to the Little Black House? A group of naked men are sitting in the sauna. Very baffling, why do you have to take off your clothes. How come there is no punishment. When the rules of the game were announced, the old man said that being eliminated would be worse than you think. ha? Did the old man say it was bad to go into the little dark room and get naked? You are doing a scene of personal punishment. The audience is all ready to watch a hardcore movie about a medical experiment, but the screenwriter actually let them go into the sauna? are you kidding me? What is the use of the old man's deterrence other than reading a few rules and saying "interesting"? Oh yes, and a shot was fired.
Please, the plot must be gradual. The previous villain has already hinted that the eliminated people will have to do medical experiments, and in the following plot, the eliminated people can only get worse than this situation or at least fulfill this statement. At the beginning of the game, the degree of "abuse" was raised to medical experiments, and it was also given to the medical laboratory. The audience is naturally ready to see medical experiments. The medical experiments are all filmed, but you let the protagonist go in and experience the experience. (Screenwriter: No, the sauna room is fine) (I'm going to be pissed) What is the best way, or the villain is just intimidating at the beginning, then don't give the camera the laboratory, which makes people suspect that the villain is saying A lie, or at first the villain only talked about being a coolie and a slave, but in fact he was subjected to a medical experiment. The male protagonist escaped and returned to the game because of some loophole in the rules. The screenwriter is now on both sides, and the abuse has not been abused, and there are still pits in logic.
4. The climax setting is unreasonable
Generally speaking, the climax of a movie should be set in the last 15 minutes or so. When the climax is over, the story should be finished. At most, it takes 5 minutes to explain the aftermath for the second part. The movie doesn't quite grasp the rhythm of the climax. To be honest, from the audience's point of view, I think the most tense, exciting and climax of the whole film is the match between the hero and the villain. At the end of that game, the story has only two directions: create a second climax, or end. The screenwriter begins to show his twists and turns here, and his long-winded skills. First, the friend betrayed, the male protagonist stole the diamond and came out, the male protagonist rescued the old man, and then got off the boat for a scene, and also explained the emotional line, before and after 20 minutes. Have you ever seen a successful movie with 20 minutes of storytelling after the climax? no!
The failure here is that the timing of the male protagonist entering the little black room is too bad. In order to make the villain's game come to an end, the scene where the male protagonist enters the little black room should be brought forward. It is best to put it after the foreign gang, the male protagonist missed a duel with people, lost the last star, and immediately sent him to the small black house, and then came to play the scene of friend betrayal + stealing diamonds + saving the old man. The friends confessed their mistakes and made peace as before, and finally sent the villain out of the game together. Game time is over. Take a sack of money and get off the boat to find a girlfriend.
A one-star film review has been written for such a long time, and it is always worth holding my breath for two and a half hours.
This article is to express emotions. Objections are not accepted, not adopted, not discussed, thank you!
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