Three stars, not particularly bad but not too good, it can only be said that it is a movie with more publicity than content. The story is flawed, and it all depends on the actors. The film is like its director's famous milk tea, which is delicate, but unnecessary hypocrisy still accounts for the majority, and I can't help but feel tired after seeing it. Facts once again prove how important the announcement is! How important are trailer clips! from the form. The past tense is twilight warm tones, the present tense is black and white. Whether you want to create the effect of "memories are in color" or "without you, the world is black and white", it is too deliberate to express through the contrast of tones, and the sense of form is slightly stronger. from the narrative. The way of interlude can more or less make up for the flaws in the plot and the slow rhythm of the movie to the end. Because the interlude is too easy for people to follow the movie characters and forget the respective coherence of the two lines. There are too many interlude films that can go well in parallel with both lines. For a while, I can only think of "Lolita", "Conversations with Women" and "20 30 40". from the show. What impresses people the most is not us, what happened later, but Tian Zhuangzhuang's somewhat arrogant and obsessive father who still sticks to his hometown even after his son succeeds. As he said, "No matter where we are, we are all strangers." In my hometown, the child who went out to work hard in memory is still the one who locked himself in the toilet for a game at that time. Even if the two father and son sit together and don't talk too much, a basket of sticky bean buns represents the father's attitude towards his son's work away from home. It seems as plain as boiled water, but there is always a kind of unexpected heartache. It can only be said that Tian Zhuangzhuang is not acting, but living in front of the camera. Jing Boran's acting skills this time are enough to be called experience, and Zhou Dongyu can make people have unobjective love for her. I don't want to go into details. The myth about movies is that I don’t understand why more and more movies like to have passerby scenes (I feel that the word “plot” is really uncomfortable here.) From the interviews of passers-by in "Following Love to the End" The plot of the story, in "Later Us", let passersby write what they want to say to their ex on the cardboard in the way of confession in "True Love First". Is it necessary for passers-by to appear on the camera to resonate and make tears? It's a myth anyway. If it is not necessary to talk about the necessity of these two films, probably the director of "Jiang Ai" and the producer of "Later" are both Zhang Yibai. Wouldn't the sense of label be too heavy? Still a myth. The delicacy of the female director is undeniable, although she can't restrain her emotions when she is overwhelmed, and she is sometimes unavoidable. But facing from the director to the actors can't make people harsh, at least me. So it is a qualified cinema movie, not to mention a Virgo. What I want to say is that there is no us, and there is no later. Everyone can only accompany you for a while, so it doesn’t matter if you reconcile or not, whether two people can be together is sometimes not like Heisenberg’s uncertainty principle, even if the original assumptions are true, you and I will still end up not together. Everything is a condition, everything is an outcome. So, it's better to live in the moment with myopic eyesight, worrying about rice, oil and salt, how to whiten and brush acid, and tangled in trivial matters to be much happier. For example, T, who is worried about robbing pirates with otaku in Uniqlo now.
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