This is a film that is both rough and refined. The roughness here is not derogatory. It means that the movie puts the perspective into the bottom life, and restores the rough and energetic living state of the bottom life well. And the most prominent feature of this film—sophisticated, especially in the structural design and plot advancement of the entire film, the small buttons set carelessly at the front are carefully untied one by one at the back, or, in other words, the buttons placed in the front All those small mines in the back were stepped on, not a single squib. Every time the thunder explodes, it will bring the audience a happy snicker like the rope segment, and occasionally burst into hilarious laughter caused by a certain line or a certain performance. Another ingeniousness lies in the way of narration and editing of the film. Several parts properly use multiple perspectives to narrate, and the editing is bright and quick, which contributes to the avant-garde, experimental but concise and clear style of the whole film. In addition, there is another layer of sophistication in the performance of the actors. This is a group drama film, the actors are very serious and serious as a group of comedy characters, so they have a stronger comedy effect. Among them, the two thieves who stood out were the Hong Kong thief Mike and the three soil thieves, Dao Ge, Heipi and Xiaojun. Interestingly, in this film, which takes Chongqing as the location and uses Chongqing dialect as the main line, the two groups of thieves who do not speak Chongqing dialect have another wonderful effect.
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