I'm used to categorizing horror movies into three categories. The first is a plasma horror film represented by Chainsaw Horror, which mainly focuses on bloody scenes that make people unable to eat, and the third part even has scenes such as dissection of people. Compared with the Chainsaw Horror, the God of Death feels a little insignificant. The one in the middle who had half his head cut off by the iron sheet, let me make a bold guess. In the hands of our director Wen, it should be perfectly divided into eight pieces like a knife that cuts an apple in a supermarket.
Sorry Mr. Wen =.=
Second is the haunted horror movie that the people of the island country are best at. Sadako Gamako is everyone's good friend. My mother had nothing to do when she rented a midnight bell and came back to see it, but she didn't dare to go to the toilet by herself for a month, so I still haven't dared to see Sadako-sang's face. The god of death here is actually somewhat similar to the nature of ghosts, belonging to the supernatural power. But just as the purpose of crime is different for humans, so is the purpose for ghosts to kill people. Some ghosts are for themselves, the grievances they suffered during their lifetime, and their unfulfilled wishes. But in this film, the God of Death is killing people indiscriminately, or the God of Death has his own goals, which is similar to the kind of performance who must kill the plane before the New Year. But Director Huang is an honest man. The God of Death in this film is a supernatural force, but he can't use any supernatural means. For example, a laser bibibi like Ultraman swept all the people in this plane to death, as a kind of supernatural force. Quietly pretending to be natural. First, he secretly leaked the water out of the toilet, causing him to fall and strangle him, and then he quietly slipped back, or he ran after the girl with a piece of wire. This acting is comparable to our big baby Angela.
The third is insanity, which the South Korean people are good at. Simply put, there is no supernatural power and no blood, all these horrible things are your own imagination. For example, the famous Rose and Red Lotus, as well as No. 81 in Beijing starring Ruby Lin. Although this issue is not involved in this film, the superpowers of the protagonist are also rather peculiar. Here again, Director Huang is commended for being an honest man, and he didn't give him any protagonist halo. When Wuli Daiwen appeared on the stage, he was called a youthful and beautiful person. The gray eyeballs made me drown in it. The last time I saw such eyeballs was on the domineering president in Fifty Shades of Grey. But gradually the style of painting changed. Little brother Devon is like a lunatic every day. He will always say who is going to die, and everything he sees is like a sign of death, but except for the first flight and the seat belt, there is nothing else. an ok. Director Huang, this little brother is so handsome, can you give people the privilege of being the protagonist?
Maybe all of us have experienced this. Somewhere I have walked, something I have done, there is a feeling of deja vu, as if I have seen it. When this feeling turns into a death prediction, and then really fights the god of death, this is the god of death. The most elusive thing for me is people's attitude towards Alex. When the people who were saved by him faced him again, there was fear and disgust. They didn't want to talk to him, even though this guy saved their lives and even said, I'm taking my own destiny. I think it's not so much that they hate the fear of Alex, it's that they hate the fear of death, the coming death. The happiness of being lucky enough to escape, and the grief of losing friends and colleagues are nothing compared to the deepest fear of death in human nature. But the old Chinese saying also said, the king of hell told you to die at the third watch, and you won't live until the fifth watch. In fact, death is often the same. Maybe the wires won't run after you, and it's not a coincidence that the seat belt suddenly breaks, but when death does come, we have no choice but to accept it. These are the values that I understand the director wants to convey to us.
Finally, to paraphrase a line in the movie,
when we say that life is unpredictable, we actually think that our death is far away.
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