"Painted Skin 2" basically applies the big frame of the first film, but it is just old wine in a new bottle, completely packaged with the aesthetic style of a magic film. In the "Gutter Oil" film "Laughing at the Knife" that director Wu Ershan previously filmed, "ugly art" runs through the whole film, and in "Painted Skin 2", it turns into "beautiful art", from one extreme to another in terms of aesthetics. One, some performance techniques and scene scheduling can show the director's intentions and confidence. In terms of visual effects and the recently released "Million Crocodile", we can see that Chinese films have made progress in this regard. Overall, Painted Skin 2 is more exciting and complete than the first.
On the contrary, although the film has the momentum of a magical epic film, fans who like Western films can see many shadows of stealing teachers (such as the stylized copycat Lord of the Rings, you are like the fire "Voldemort" Fei Xiang, The snow-capped mountains of Sirius are like the Paramount logo, etc.). The most deadly thing is that the special effects are too flooded, and there are endless 3D effects that are deliberately made for 3D (still giving the audience a feeling of "tied to a chair and let 3D dry"), which is a common problem of 3D entertainment films, after all, like There are very few movies that use 3D to set up a sense of space like "Hugo".
The relationship between the fox demon and Princess Jing is the biggest attraction in the whole film, and the passage of "changing skin in water" is also the most eye-catching. Due to the character setting and causal relationship of the characters, it is a test of the interaction and relevance of the two actors Zhou Xun and Zhao Wei. , their chemistry is undoubtedly more subtle than the first. Because of this, the male protagonist Huo Xin replaced the "third party" fox demon who was supposed to lead the story, and became the "third party" who led the character; the relationship between the demon hunter and the sparrow could have been set up as one. It's a good sub-line, but the role of Ling Que has never been able to stand up to scrutiny and has been destroying the whole. Coupled with Yang Mi's pretentious performance, it is really difficult to resonate. And it didn't play a very good role at the end of the film. As a demon, it has the ability to save the master directly. Unfortunately, the screenwriter complicates the story in order to make the story more exciting and loses the authenticity of the story. The role of the monster hunter did not lose points, and Feng Shaofeng's nervous performance also added a lot of points.
The ending of the story is very far-fetched, fully revealing the theme of "shemale", so I will stop here for the time being without spoilers. All in all, the film is a film whose form is greater than its content, and it has lost the mythical color handed down from its ancestors, and replaced it with over-packaged Western magicism. The way of mixing Chinese and Western takes care of one and the other, just like the "human demon" that the film focuses on. The same people are not human, demons are not demons, and the result is nondescript.
(Published in the "Beijing News" published on July 3, 2012)
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