In domestic films, comedy and horror have always been the two major themes that have been criticized. The director's perfunctory, the actors' embarrassing performances, and the audience's different reactions to the jokes have all become factors restricting word-of-mouth. And there is a more prohibitive category, and that is horror movies. From dreams to revenge to neurosis, a single poster is enough to elicit boos from the audience. So, what would it be like to combine comedy and horror to make a film that is both funny and exciting?Perhaps in this combination, we can discover new possibilities for domestic films.
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The movie "The Great Night" gave me a completely different viewing experience. When I first stepped into the theater, I was expecting an ordinary comedy, but as the light and shadow on the screen changed, I experienced a journey of laughter and horror.
This story is set in a self-** studio, composed of three young people, who usually make tricks**. However, with the development of **, this kind of old-fashioned script gradually fell out of favor, and the studio was in trouble. In order to save his career, the head of the studio, "Brother Leopard", decided to resort to an unprecedented method - hype. He hooks up with "Little Mountain", an actor who is in the entertainment industry, and co-designs a jaw-dropping plan with him.
The whole story unfolds in the context of filming a costume horror film. The members of the studio infiltrated the crew and arranged a seemingly ridiculous ghost incident, but they did not expect that a real horror crisis was quietly brewing. In the process, the film triggers the ups and downs of the audience's emotions through a clever transition between comedy and horror.
The director** breaks the stereotype of traditional movies with his comedy and horror elements that he is good at. The laughter and thriller in the film are intertwined, allowing the audience to be inadvertently drawn into a world full of suspense. Just when I thought it was just a light-hearted and humorous work, the plot reversed in unexpected ways at key moments, making it dizzying.
This is not the first attempt at such a film, and foreign classics such as Japan's "Don't Stop the Camera" and the American "Screaming" have long proved the ingenious integration of comedy and horror elements. And in China, it has been six years since the last well-known comedy horror film, and "The Great Night" can be said to have injected new life into the genre.
During the movie, I felt the unique charm of this movie. From the initial fear to the gradual heating up, it was as if I had been transported into a wonderful night. In the movie, the scene that impressed me the most was the funny scene where the actor dressed up as a female ghost and broke into the men's bathroom. This scene not only shows the real scene experienced by the director, but also introduces the audience to the atmosphere of the film through comedy.
The sensational scene at the end may feel a little abrupt, but from the overall look and feel, the movie is still worth watching. Laughter and fear are skillfully intertwined in the film, in which the viewer is able to experience the thrill of an emotional rollercoaster. At the end of the movie, although there is a sense of relief, perhaps this is exactly the emotional ups and downs that the director wants the audience to feel.
Summary:
The Great Night opens up new possibilities for domestic films, skillfully blending two very different emotions, comedy and horror. During the viewing process, laughter and horror intertwine a unique picture, allowing the audience to spend an unforgettable evening in laughter and tension. I hope that there will be more domestic comedy horror films in the future, challenging the audience's laughter and guts, and injecting more fresh elements into domestic films.
Time flies, time flies, and this summer file has brought an unexpected movie-watching experience. The once popular Hong Kong-made police and gangster films seem to have lost their original glory in the hearts of the audience. However, a highly anticipated new work has set off a whirlwind on the big screen, and "Anti-Drug 3" has made people's expectations for the summer file climb to a new high with its majestic scenes, strong cast and high production costs. However, unexpectedly, "Anti-Drug 3" failed to meet expectations at the box office, and the box office battle in the summer file was quietly taken away by another film, "She Who Disappeared".
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Ten years ago, "Anti-Drug 1" left a classic scene in the history of Hong Kong films, and the duel between the three superstars Zhang Jiahui, ** Yun, and Louis Koo became the foundation work of the series. With the passage of time, the "Anti-Drug" series has come as promised and continues to attract the attention of the audience. However, to this day, the predicament encountered by "Anti-Drug 3" makes people wonder whether Hong Kong films have lost their former glory, or have the audience's tastes changed dramatically?
First of all, there is no doubt about the production level of the film, the high production cost and strong cast lineup present the audience with a grand story covering Hong Kong to the Golden Triangle. Director Qiu Litao poured his heart and soul into striving to be higher, bigger, and more hardcore in the action scenes. However, the problem with the film does not seem to be in the production level, but in the handling of the storyline.
Hong Kong films have always been known for their unique Hong Kong flavor and gripping brotherhood, and Ah Wei in "Anti-Drug 1" and Yu Shuntian in "Rage: Serious Case" are all familiar characters to the audience. However, "Sweeping Drugs 3" seems to have encountered a dilemma when trying a new story line, and the interlude makes the plot seem tight and hasty, and the establishment of character relationships seems a little reluctant. The presentation of brotherhood also lacks the deep and touching power of the previous work, making it difficult for the audience to resonate emotionally.
On the other hand, the frequent appearance of old-faced actors in Hong Kong films on the big screen has also triggered the audience's aesthetic fatigue. The acting skills of actors such as Louis Koo and ** Yun are certainly admirable, but the audience may be tired of the images they repeatedly present in different films. With the improvement of the quality of domestic film and television works, the audience's expectations for movies have also increased, and the traditional Hong Kong film routines may no longer be able to fully meet their demand for films.
Finally, the fierce competition faced by Hong Kong films in the mainland market is also one of the reasons for the box office downturn. In recent years, the mainland film market has been booming, with films of various themes emerging one after another, and audiences have more opportunities to choose. Films such as "Disappearing Her" have successfully attracted the attention of the audience through unique storylines and fascinating expressions, and have become dark horses at the box office.
Conclusion: Hong Kong films used to be the pride of Chinese-language films, but time has passed, and the tastes and needs of the audience are also changing. The box office slump of "Anti-Drug 3" may be a test for Hong Kong films in the mainland market, but it is not a desperate situation. In the future, Hong Kong films may need more innovation and breakthroughs to meet the audience's increasing aesthetic standards. After all, the world of movies is like rivers and lakes, unpredictable, and only by constantly forging ahead can we be invincible in the fierce competition.