After watching it for almost three hours, the first impression was that David Fincher gave me a mouthful: "I said, don't guess what Lao Tzu will make, even if you guess, I will lose if you are right." Follow before watching Given the length of the movie and the fact that I was attracted by the name "Zodiac", I took it for granted that it would be a terrific murderer who would turn the police around and end up with a typical ending of Brother Finch, but everything and what I thought were the same. The difference made this movie an even bigger surprise for me. The reviews for this movie are mixed, even to two extremes. Some people say that there is no excitement in the whole scene, but instead I think this is a film that can guide you to watch without patience. Freelance film.
Compared with other movies with magical scripts, we can feel more of David Fincher's skills in this one. The first is a few clips of the crime, I think it can be described as a textbook level. He didn't fall into the cliché and use that Hitchcock-style method. Instead, everything went on very calmly. There is a real despair in the peace. The second is that three police detectives went to the factory to ask Li Arthur. The eye scene of several people, coupled with a very impressive soundtrack, was impressive. The last time I noticed the soundtrack was Nolan's "Interstellar". The third is the frightening scene in the basement of reporter Rob. That scene really scared me. Compared with the nervousness of racing against time, it was an unknown fear. The actor's neurasthenia also aggravated the whole scene. The horror atmosphere is very similar to the feeling of the heroine in "The Shining". And the last scene between Rob and Li Arthur, the shock and embarrassment of the police officer when the prisoner identified Li Arthur, these plots are all magical. These scenes give me more trembling feeling than "Thriller Room".
I think the whole case is actually more like a gang crime. Li Arthur has been pointed to by a lot of evidence, but I don't think it was all done by him. After all, he doesn't seem to be very smart. When he was interrogated in the factory, he also had a flaw that he wanted to cover up but wanted to make clear, not to mention the basement. The projectionist is definitely not innocent. After all, the handwriting is also consistent. This also shows David Fincher's consistent thinking. He will show a lot of clues. In the end, he will keep going with the main thing. But I don't think the rest of the people who were abandoned by him are just to set off the role of actors. Or maybe the zodiac, as Paul Ayre thinks, is nothing more than a bullshit bastard who is actually a liar trying to get the limelight by sending letters to the newspapers after a few murders. In short, what happened in the 1970s, all technologies are immature, and there is no way to find the murderer based on the skeleton like in "Bone".
Simply making suspense films is not what David Fincher wants to do at all, so he makes philosophical suspense films, suspense films that can reflect history, and suspense films that torture society. In addition to the excessive involvement of the low and the media, more attention was paid to the case itself, so some people called it a semi-documentary film, which restored the case in more detail and described the impact it had on some people's lives. Three men Because he took a different path. The heartbreaking scene where the detective parks his car on the corner of Cherry Street, time flies too fast in this three-hour movie, and how many years does he have left to devote himself to this long deadlock? Before art is higher than life, it should come from life, so the murderer in this movie is not as omniscient and omnipotent as everyone thinks, but the emphasis is on the process of solving the case, and everything seems embarrassed and helpless.
A writer commented on David's film and said, "I think of what Chen Danqing said when he was questioned by some readers. When someone was gossiping, he pointed out that he was exhausted, the sword was old, and he would never paint again. When the brilliant "Tibet Group Picture" came out, Chen Danqing just said indifferently: I can't draw it anymore, because I have already drawn it. Similarly, Fincher doesn't need to make another "Seven Deadly Sins" at all. ", because he has already made it." Some people think that this film that is not like his style is that he betrayed himself, on the contrary, I think this is the best film of David Fincher, it is like he made after precipitation. The innovation, the kind of innovation that is needed today, is calm and atmospheric, the rhythm is gentle but there is a sense of power in silence, it is a "great experiment", rather than other transformations, it is better to say that he has never set himself. , he has been exploring.
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