From an objective point of view, the domestic film market took the lead in returning to normalcy this year, whether it is a domestic film or an imported film, the supply side has dredged up a lot compared to the past few years, and it is not an exaggeration to describe it as "should be on the top".
Taking imported films as an example, as of the end of last year, before the release of "Avatar 2", my expectations were still relatively pessimistic. Because the 2017 "Film Industry Promotion Law" and the 2021 "14th Five-Year Plan" for the Development of Chinese Films both stipulate the box office proportion and screening time of domestic films, in order to ensure that domestic films become the main body of domestic cinemas, they have to block out better quality account-sharing films.
What is not as good as heaven is that this "red line" seems to have been automatically solved in recent years, because whether it is "Oppenheimer" or "Barbie", no matter how much you sell at the global box office, you will never be able to beat those medium-sized ones that are sinking in the short ** in the Chinese market, such as "She Who Disappeared" and "All or Nothing".
In other words, now the mainstream audience in China has been disenchanted by imported films, and they prefer to watch domestic films, even if they are remakes.
Such a status quo also makes North American distributors such as Martin Scorsese's "Flower Moon Killer" automatically give up the mainland market, without him, just because it will not get a satisfactory box office just because it is released, and it will lose money if it is not good.
Of course, it must also be mentioned that this year's domestic cinema line is full of flowers, to some extent, it can be attributed to the result of the backlog in previous years, where there are both factors of the epidemic itself and the obstruction of "technical problems".
But quantity belongs to quantity, and quality still belongs to quality. Take the movies released in the recent period as an example, the following ones are worth talking about.
First of all, I was more disappointed: "The Tip of the Knife" directed by Gao Qunshu.
This movie has been backlogged for many years, and when I watched the trailer for the first time, I was actually full of expectations. The reason for looking forward to it is not only the subject matter, but also the creator himself.
Gao Qunshu's previous films such as "The Wind", "Tokyo Trial", and "Detective Hunter Zhang" have left a good impression on me, especially "The Wind", which belongs to a pearl film that has been "posthumously recognized" in the Internet era.
The "posthumous recognition" here does not refer to how much cold reception "The Wind" encountered at the beginning of its release, but that as time goes by, there are almost no better spy war films in domestic movies, and the audience looks back and finds: Oh, it turns out that it is the best.
As an audience, the basic psychological presuppositions are: it cannot be worse than "The Wind" in terms of story, and in terms of visual effects and the overall aesthetic concept, it should also reflect the progress of technology in a timely manner, after all, "The Wind" is a filmIn 2009of the film.
But after watching "The Tip of the Knife" on the premiere day, in addition to the art modeling, the plot is so fragmented that the opening is quite sharp, which can't cover up the drag of the rhythm in the second half of the paragraph, like watching a TV series.
The meanest comment on the Internet is: After watching "The Tip of the Knife", I realized that the goodness of "The Wind" is the credit of Chen Guofu, another director and co-screenwriter of the film
It's hard to say how much the deletion has changed the film, and whether the original version of the story is completely different from the protagonist's character, I believe the above has an impact on the film, but as an audience who bought tickets to enter the theater, we can only draw conclusions based on the current version.
In any case, the cast of "The Tip of the Knife" is not bad, although the star effect is slightly inferior in front of "The Wind", but there are many actors like Huang Zhizhong, Zhang Yi, and Gao Jie in the roles, it can only be said that this pot of soup is not cooked well, and it is a waste of ingredients that are not easy to match.
The biggest problem with this film, in my opinion, is that it can't be faithful to history, but it fits too much into established stereotypes. The historical site it painstakingly laid out is full of empty holes like labels and piles of materials. It is full of "historical inevitability" plot direction, and does not hesitate to follow linearity at the cost of abruptness, outburst, and illogicalness.
To give an example, for example, the military commander ** Chen Yao, the setting is from the 29th Army Broadsword Team, participated in the Great Wall Anti-Japanese War, and was seriously injured by Japanese soldiers in order not to expose himself when he was lurking, and he is the protagonist's professional guide. Later, the plot was going to shape the military commander Nanjing Station into a villain, so how to deal with the only remaining decency in this villain, and arranged for him to commit suicide in bed after entrusting the aftermath to the protagonist.
is very similar to Fan Xiliang in "The Right Way in the World is the Vicissitudes of Life" and Shi Yunbiao in "The Sky of History". I can understand why such people have to die at some point, but after watching too much, I still want to say that this kind of dramatic logic is evading the responsibility of facing history. It's not premium, not at all.
True seniority is to tell the truth as much as possible, even if it's in a way that doesn't speak.
also suffered from deletion, and Cheng Er's "No Name" at the beginning of the year gave people a better impression. Of course, there are a lot of pretentiousness in "No Name", and some traces of knives and axes are not even like external forces, which may be the intention of the creator himself. But to have an artistic texture is to have an artistic texture, and that may be"Authorship".The wonders of it.
And then there was something higher than expected: "Wading Through the Sea of Anger" directed by Cao Baoping.
"Wading in the Sea of Wrath" is also a backlog of films, and it has also suffered changes, but objectively speaking, the current version is very complete, and there is no trace of being affected by external forces at all. This actually validates my point of viewIf you do something with a score of 90, even if it falls to 85 points due to various unexpected circumstances, it is still in the excellent category.
Director Xu Zheng, who watched the film at the same time, pointed out that he saw a lot of independent films' persistence in this commercial film, and turning this observation into the opposite direction is just right to promote to mainstream audiences: "Wading Through the Angry Sea" is not only a film with something to say, but also a good-looking movie, with big scenes of visual spectacle in the opening, middle and climax of the film, which can see the creator's determination to explore genre elements.
Another fascinating attraction is that the film is set in Japan, which finally bypasses Southeast Asia, where domestic films have been frequently used in recent years. When the 61-year-old Cao Baoping shoots passages related to Japan, his style is like Tetsuya Nakajima and Sonoko Wen, very first-class Japanese pure love films. reminds me of the classic speech in Jiang Wen's "Round Table Pie".Many of the things that young people like are not made by young people, but by older people.
Compared with Cao Baoping's "Scorching Sun", "Wading through the Sea of Anger" highlights the style of madness and excesses: decent like a villain, **like a victim, fish can fall in the sky, and the sun grows in the sea. Its sincerity, anger and call sign are scarce in domestic films, and they are also scarce on the domestic big screen.
Regarding what a good movie is, Guan Hu said a point of view very early: "No one can refuse to be good-looking, but when the good is over, the music is over, the audience walks out of the theater and goes to the restaurant, this is not a movie." At the very least, there is a little bit of thought. Soreness, discomfort, a small shock, or a punch. ”
"Wading in the Sea of Anger" is such a movie with a lot of stamina, and what is more worthy of respect than stamina is its intention to focus on "borderline personality disorder" and "the lack of love in the original family".
Although the poster writes a reminder that "audiences under the age of 18 are advised to choose carefully**", "Wading in the Sea of Wrath" does not really scare children, it is neither terrifying nor terrified, nor does it lay out bloody violence, and there are no elements that directly frighten minors. It only scares those who grew up with children.
But Cao Baoping's purpose is not to make people afraid, but to hope that everyone can get out of the cage, recognize themselves, treat themselves well, have the ability to love and be loved, and find their own happiness.
In order for future children to be treated gently, Cao Baoping made a deep wound in this world. In the words of the director after the screening:
We rarely have movies that let you see the darkness of human nature and the complexity of this world, I think you have to be aware of the darkness of human nature and the complexity of this world, so that you can better face this world. For us, we naturally think that if there is a blood relationship, there must be love, such as between parents and children. It's as if no one is going to ask this question, how can there be no love?Because it was born by you, raised by you, it must have love. But what I want to say is that this is not the case, I think love needs to be Xi. It's like you Xi learn any craft, or Xi any course, and you need to take the time to learn how to love Xi. But we always ignore it. ”
Finally, there is the unsatisfactory: "Napoleon" directed by Ridley Scott.
Napoleon is certainly a movie worth going to the theaters, especially for lovers of historical and biopics, but in my case, it lacks a bit of epicness overall, except for the good service and big scenes.
The only thing that touched me in the whole film was the last words of Napoleon in the closing creditsFrance, the army, Josephine. Explain separately with his obsession with his motherland, work, and his loveWho he came from, who he is, who he loves
On top of that, the film lacks a modern ideological refinement, and I don't see the hidden connection between this historical narrative and reality, which is more like a year-end summary at the end of the old director's career.
My regret for Lei Dao's "Napoleon" is not that the creator portrayed Napoleon as an ordinary person, in fact, on the contrary, in my opinion, he is not ordinary enough, not deviant enough, and there is a slight gap with the previous rumors about "love brain" in the Beijing premiere.
For example, some peers concluded that this film can be called a "comprehensive milk method", and the angle is curious to introduce the influence of Napoleon's love life on the war: the inner court is harmonious, and the conquest is invincible;Divorced, ** didn't fight down;When my wife died, I met Waterloo. Just for their family's toss, 3 million people were reimbursed before and after.
If you can really shoot the sadomasochism of "weeping for the six armies, and being angry for the crown", whether it fits the historical facts or not, it is artistically valid, Oscar Wilde has already said -"Everything in the world is about sex, except for sex itself, sex is only about power."
What's more, deconstructing a person obsessed with power in this way is itself the most naked mockery of power.
I can only look forward to the director's cut version of Apple Stream ** for more than 4 hours. 100 help plan