In fact, "Robin Hood" is indeed not suitable to be released in the summer, and its lackluster commercial selling point is also indicating a bumpy road to its box office. But on second thought, it's not a good idea to put an old-fashioned and declining epic like "Robin Hood" in any schedule. In this way, it can appear in the peak of popularity in May, and it can appear as a top masterpiece, and it can also achieve the purpose of grabbing as many eyeballs as possible.
It's not a matter of a day or two that epic blockbusters in the traditional sense are on the decline. Take Ridley Scott, for example, who himself not only directed the first wave of epic films of the new century, but also directly caught up with the last train of the ebb of the genre. Now, after "Kingdom of Heaven", Director Lei has been lurking for five years, once again taking care of over 100 million US dollars and exporting "Robin Hood". The result is that the film cannot avoid the tragic reality of losing both box office and word of mouth. As for Lei Dao himself, after smashing two epic blockbusters in succession, as well as medium and high costs such as "The Body of Lies", he is very likely to follow the big film in the short term. Making insulation, at least it won't be a costume drama anymore.
I secretly think that the biggest problem that restricts epic films from leading the trend for a long time is the cold weapon war. It can be said that the cold weapon war is relatively simple in the way of creating visual spectacles. Once the momentum of thousands of troops and salvos of arrows appears repeatedly in many films, it means that the collective aesthetic fatigue of the audience has disappeared. Far away, it is inevitable to finally arrive at a day when the wonder is not "wonderful". The only way out for epic films is to work hard in expressing the style and look of war, and shoot different battles through unique capture and processing of scenes.
"Robin Hood"'s action style is different from Ray's "Gladiator" and "Kingdom of Heaven", but it is closer to the way he handles modern warfare in "Black Hawk Down." "Luo" presents a high-rhythm forcible confrontation, frequent editing, irregular composition, incomplete motion capture, fierce propulsion, and a soundtrack that is always in a state of excitement. taut state. In such a state, local devotion is replaced by a unified consideration of the whole, the action must be short and short, and it must not be sloppy. . In this way, the few battle scenes in the film generally reflect a coherent coherence. This kind of look and feel is very similar to the capture of real scenes on the real battlefield, rather than the replicas that have been carved by too many people in the studio. This is actually a documentary shooting method, which is common in melee combat, but rare in swords and swords.
But then again, although the film's war look is new, the biggest problem is the lack of really powerful highlights. Robin Hood's last shot, as impressive as it was, was only a slow-mo to break the tightness, otherwise it would be blamed for being too bland. It can be seen that the excessive realism and the inability to perform the full picture of the action are difficult to meet the requirements of most viewers for "real" action scenes. On the contrary, the highly freehand slow motion can bring aesthetic enjoyment. So it's understandable that things like "Three Hundred Spartans" are more popular.
The roles of Russell Crowe and Cate Blanchett naturally determined the "middle-aged" line of the film. Helpless, he was entangled by family affairs and pressed by the burden of life. The two of them didn't have many sparks from the beginning to the end, but since everyone is not young, it is not so practical to have some passion. It is inevitable to be hasty, after all, neither side has much time to waste. Queen Kate concealed most of her temperament with her elegant dress and low-key style, but she was inadvertently penetrated for a moment. If it wasn't for the final battle, she would be completely trapped in the body of a peasant woman, but she didn't show her true skills beforehand, and it was really embarrassing when she really started killing. Uncle Crow's body after losing weight is finally worthy of such a role, and he can still dig a little bit of vicissitudes of life from him, and then think about "Gladiator" and find that it is not as good as before. In the same way, the director still tried to bring Robin Hood closer to the grassroots, which is very different from the old version of "Robin Hood, Prince of Thieves" which directly set him as Rosley's real son. The class of endorsement is different, so even the posture and tone of speech are also very different; Robin Hood, who upholds freedom and democracy, openly refutes the monarch and becomes a politician, still lacks a strong psychological explanation, and only relies on the mystery of his life to inherit his father's business and change. Perfect morality, which defaults to persuasion.
To sum up, and considering the length of the film and the court battle like a watery swallow, "Robin Hood" is actually only suitable for fans of Lei Dao and Luo Ye's partner, as well as some admirers of the legend of Robin Hood to watch. Unfortunately I am both.
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