On a certain spring day in 2009, which was extremely lacking in support, Sherlock Holmes was resurrected. In my trumpet head, with sexy little muscles and charming small cheeks, as well as the extraordinary brother Watson and the sleepy Shar Pei.
Ten minutes into the movie, I shyly asked my friend next to me: Which is Sherlock Holmes and which is Watson? Robert Downey Jr.'s version of Sherlock Holmes subverts our old impression of a great detective as a gentleman. This child is sloppy and autistic, but accidentally causes the rotten girls to scream. As for Jude Law's Watson, he was just a gentleman with a slightly yuppie style. Although his blond hair was sparse, without his hat, cane and sternness, the rotten girls couldn't scream.
This is the story of two men. If you have to expand it, it is a story that can not be told between two men and a woman. If Sherlock Holmes chooses to resurrect in this restless and flamboyant era, he must bear the mark of this era. So he wears clothes from the end of the 19th century, speaks the language of the end of the 20th century, but avant-garde implants the ideas of the 21st century. For two weeks he lived in a dark attic, fingered the violin, kept the dog in company, meditated, bored himself, and shot the wall with a pistol. He was jealous of Watson and was very angry that Watson was going to get engaged to the governess. This child is too unpretentious in front of women. Except for Liuzhouzai, it was the first time I saw a man mocking a woman and spared no effort. But he fights the most feminine and most graceful Wing Chun, devises a routine to defeat his opponent, falls in love with a female fugitive like a Bond girl, and flirts with Watson on the carriage of the industrial empire. The personality is so explosive, Ben Zhang. So much so that we feel that this alternative and lovable man is not called Fowles, he should be called James Bond, or Zorro. So that we don't need to pursue too many twists and turns of the plot, except to make fun of Liu Qian's little tricks - there are many small experiments in the movie that can be used as magic. Maybe in the future physics and chemistry teachers will shout out before their lab classes: Don't talk about Sherlock Holmes!
If, as always, Mormos must be turned into a logical reasoning science film centered on the individual soul, the screaming should be the old people with nostalgic complex. Instead of throwing money to an unrelated movie theater, they might as well wait for the CCTV movie channel to broadcast, or download it online, or buy a small video disc to relive late at night. Anyway, they are used to waiting and being alone. And the new force of movie fanaticism, their time is precious, their needs are noisy, fast food, different from me, different from you, different from him, need loneliness in the noise, sense of the times, all the old people see unaccustomed. Therefore, "Detective Falfors" is at the forefront of the times. There is the ambiguity between men and men, the ambiguity between men and women, and the popularization of Oriental Kung Fu, as well as the immersion of classical slow-rock Western music, and the cross-infection of British charisma and American rogue cold humor. Don't spit behind your back and say these episodes are familiar, it doesn't recognize you, you recognize it. You are dead, Xiao Luo (Little Robert)'s muscles are shaking impatiently, even the scars on his shoulders are about to spurt blood, you are brought down on the stage by his Jiu Jitsu and Wing Chun. It's time to change the lines this time, and Xiaoruo said coldly: Don't spit behind your back and say that others are plagiarizing. Plagiarism is the primary productive force, and each one shows his supernatural powers. The key is to draw lessons from principles and labels, and learn from each other's strengths rather than intangibles, which is the magic weapon for victory. There is no absolute winner in the movie world. The winner is not necessarily a hit, the blockbuster is not necessarily a classic, and the classic is not necessarily happy. No one can say that Guy Ritchie lost.
It is undeniable that this is indeed a predictable film, and not the usual predictable.
The film maintains the consistent scientific nature of Conan Doyle's original works, allowing people to understand a lot of psychology, observation, logical reasoning, as well as some common sense in chemical physics and theology. Although a little scary atmosphere, but there are no bloody scenes, and justice to defend peace, suitable for all ages. At the same time, it recalls the glory of the British industrial empire and the nostalgia of the Victorian era. The whole page is full of cool colors, the carriage is galloping on the dirt road, and the dust is flying; the women's waist-length skirts and bright and exaggerated hats are extremely eye-catching in the gray. The Tower Bridge under construction, huge heavy machinery, heavy iron locks, and a magnificent industrial production scene, are shrouded in a misty fog. Everyone is groping, wrestling, and perilous. All of this indicates that the commercialization of movies is in full swing, and the commercialization is driving on the white-hot maglev light rail at high speed. Where to go, the direction is confused. Everything is exploring and trying. The prospect makes people feel really uncertain, just like overlooking the unfathomable Thames from the unattainable Tower Bridge, some people will be afraid of the illusion of being pushed down, some people are very determined, but they are likely to be hung on Air-drying on top becomes a sign that it cannot come down.
To be honest, in order to save the film market, I don’t mind being a scumbag if I have money and money and strength.
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