The movie "Article 20" feels like a roller coaster, sometimes tense and exciting, sometimes bland. Sometimes it's fast-paced, sometimes it's dragging.
When the story focuses on the plot of the investigation, it is continuous and compact, and the suspense is repeated, making people feel as if they are in the world of a movie. However, when the camera switches to Ma Li and Lei Jiayin's family scene, the rhythm immediately becomes slow, as if they are filming a TV series
The progress and rhythm of the whole movie are like switching between the accelerator and the brake repeatedly, one foot on the accelerator and one on the brake, which is exhausting.
The author can't help but ask, why did director Zhang Yimou choose this way to show family life? Is it for laziness, or is it for ulterior motives? Do you want to use the slowness of the TV series to set off the fast pace of the movie?
Regardless, this treatment makes parts of the film seem dragging and unobtrusive. If it weren't for the support of the wonderful detective part and the sublimation of the ending, this movie would probably be rated as a bad movie.
Of course, the advantages of the film cannot be ignored. The detective part is quite excitingly filmed, all kinds of conflicts and foreshadowing are perfectly filmed at the end**, and the sublimation of the theme is also very good.
So the author believes that this movie can only be regarded as half a good film. To be precise, it is half TV series and half movie, half good and half bad. Director Zhang Yimou seems to be trying to make a new genre of film, but unfortunately, this method does not make the film achieve the desired effect.
After watching "Article 20", the author's first feeling is that this movie has obvious advantages and disadvantages. While the audience enjoys its wonderful detective part, they also have to endure the drag of family dramas. One foot in the mountains, the other in the valleys; With one foot on the accelerator and one foot on the brakes, the rhythm of the whole movie makes people feel uncomfortable, is this the direction of Lao Mouzi's movie breakthrough?