And this is rare.
The world is full of literary youth who have watched too many movies. This group of plague gods can clearly see all the tricks the screenwriter is trying to play within 15 minutes, and then laugh at the simplicity and naivety of the movie to show their cleverness. Sneezing is full of connotations. And there are more people than literary and artistic youths who don't watch a few movies throughout the year, or can't remember a few movies. Compared with the plot story of the movie, they care more about Megan Fox's waistline, thighs, chest protrusions and the sultry eyes of a little wild cat. They get high with the explosion of tons of black powder on the screen, then walk out of the movie theater/delete the download content contentedly, and wonder when there will be a sequel that is as hot as it gets.
Therefore, to satisfy these two kinds of people at the same time is like making a dish satisfy both the meat-loving me and the monk who does not eat meat and fish all his life.
Not easy, but not impossible.
This is such a film.
The structure of the film is a textbook: a silver-haired, silver-suited, well-dressed Tom Cruise landed and found Jamie Foxx's taxi, and soon Fox discovered that the handsome guy in the back seat killed as much as he wore clothes; LAPD agents found The body disappeared after his informant flew out the window; the mob boss who didn't want to go to court and the 5 witnesses who had to disappear overnight, one of whom had done Jamie's taxi just before Tom got in the car. Left his business card. Hollywood coincidence, everything goes according to plan.
Mr. Michael Mann is keen to let the two senior actors have nothing to play, so before every murder in the film, the killer in the back seat and the crash in the front seat will talk about something casually: for example, the indifference and loneliness of this world, at this time Tom is a real philosopher. Then a lot of footage swept across the taxi to see the brightly lit city, with just the right amount of music.
Until reaching the destination, Tom started killing people.
This killer is called Vincent. He wears a well-fitting suit, uses a tablet computer, makes careful preparations, and has a whole briefcase full of homework. He has clear thinking and articulate speech. He looks like a professional manager until he pulls out his 9mmUSP for a cool double tap. He banishes morals and feelings, adapts to the environment, and adapts to changes. Think of the character itself as an irony, a mockery of this materialistic society, or whatever, if you like. The killer's lines are philosophical, and the killer's behavior is commercial. All the actions of this killer have enough space for people to interpret, and there is enough space for young literary and artistic youths to ramble.
But so far.
Of course, Mr. Man knew that a killer with such a performance art could not run through a commercial film, so when he reached the third one, Mr. Man was very timely to let the killer see a wolf, a silver, maverick ( How the hell could there be wolves around the Korean town of Los Angeles), leave plenty of conversation for anyone who wants to think about it, and stop
now it's adrenaline time.
I always feel that the nightclub murder in the film is one of the most NB scenes I have ever seen. Bustling, approaching, chaotic, calm, and finally the coolest turn away of the 21st century. I have watched this scene countless times over and over again, and even couldn't help counting the bullets that Vincent shot (the conclusion was that it was 15 rounds before changing the magazine, so I came to the conclusion that the gun was 9mmUSP, and other calibers couldn't hold it that way). many). These 5 minutes themselves are enough to make 95% of the shootout go to the coffin. This scene is the most intense scene in the entire movie, but it uses less than 30 bullets in total, and still brings enough excitement and tension. This kind of atmosphere relies on the previous foreshadowing. People from all walks of life gathered together, not a single shot was fired, and the undercurrent was already surging. Compared with Michael Mann's previous works, such as the rifle-to-fire scene in the Robbery Line, that scene where Al Pacino and Robert De Niero kept rifle-to-shoot until a section of n kilometers of road you can see. Everything is full of holes in the play, which is quite a bit of the same goal.
As for after that, it's completely a Hollywood trick, so I won't mention it here.
Going back to the previous question, how can I use one dish to satisfy the meatless me and the lifelong vegetarian monk?
Michael Mann's answer: Embrace the delicate vegetarian meal with a small but fiery accompaniment. If you're interested in writing stories/moving into a career in film, the issues this film is trying to explore may seem clichéd to you, but this natural interspersed approach is worth learning from; if you just like to watch something exciting, then The gunfights in the pile should satisfy your appetite; if you like to watch handsome guys, Tom Goth, who has been handsome for decades, plays the villain bad guy handsomely, and you can swipe your card; even if you just like to see the night scene of Los Angeles, you can see it in the film Fire's soundtrack will also give you a reason to come and see.
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