dislike. . . There is a kind of nondescript contrast, some movie techniques and suspense are really brilliant, but the story is not exciting, the external performance is not enough to catch people's hearts, but the atmosphere is good, but it is a little disappointing in the end. Maybe the expectation is wrong, but on the contrary, the internal logic is quite complete. The core of the characters is worth digging for metaphors. Diluted the attributes of the lines and the details of the narrative, which led to the perplexity of watching the wonderful actors' performances. In short, on the one hand, the plot can only be said to be OK, and some parts are brilliant as a whole. Obviously, the focus is not here, but the bloody and curious elements are attractive. The parts below it are not satisfactory, and they do dig deep human nature, involving the psychological subconscious Freud (?) childhood, and redemption. However, when paired with the whole movie, it's a bit playful, like the show of a middle-aged teenager to bring in that novel worldview. One is not fresh and the other does not touch the resonance. In my opinion, it is at most the top of the popular works. That is, a work that completely shapes the inner logic of the fiction and deeply shapes the fictional but self-consistent values. Another kind of work is probably extremely high skill and story expression, which brings people into a wonderful and self-absorbed story.
The subjective point of view may be a bit crooked. If you simply evaluate the work, Hannibal's characterization performance and inner logic are a few levels higher than all others. (Not bad) makes the character extremely charismatic, not to mention the actor
But the blame is that the core is a character setting that serves the perverted murderer? Obviously yes. Then the lack of impact of the plot and the forcing of external logic become a minus point, that is, the origin of the sense of contradiction, can't they have both?
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