Chinese movies have recently come to another absurd event, a first-line star star, a first-line IP adaptation of the movie "Flower Thousand Bone", after its release, the box office was extremely low because of its poor quality (as of the time of writing, the movie was released for 11 days, and the box office just exceeded 6 million, Douban 34 points).
This kind of "horizontal corpse" of bad movies actually happens every month in the Chinese cinema chain, and it stands to reason that we will not waste pen and ink on such movies. But the interesting thing about this matter is that the director suddenly apologized on Weibo on the second day of the release, first apologized to the producer, then apologized to the team, and finally called on everyone to tolerate the difficulty of the first batch of resumption of work and filming, and go to the cinema to see this movie. Soon after, the producers also came forward to explain the creative inspiration behind the film, as well as the public welfare of the shooting itself.
These contents have been on the hot search as they wished, and they have a great impact, but the effect may not be the same as what these creators expected-the audience is even more angry, and the score is 38 fell to 34, the box office has not improved, and the leading actors and directors have even been ridiculed by the group.
Putting aside the low quality of this film for the time being, behind this fragmentation of expectations, it is actually a thinking that many film creators have not changed at presentI worked hard to make a film, and I openly said that my efforts were not rewarded, and the audience should sympathize with me and support me.
This is actually a very naïve logic.
This kind of public apology is destined to be hypocritical in the eyes of the audience from the beginning. Because the object of your apology is the producer, the investor, the main creative team, a small number of people, and something that can be solved by sending a few messages on WeChat. But the platform on which you post your apology is the social media of the majority, and in the end it is all the viewers who are seen, and the necessity of this becomes very suspicious.
So in the eyes of many audiences, you are using the words of apology to a few people to arouse the audience's sympathy, and the majority of the audience goes to watch your movie, and the audience hates this hypocrisy, no matter how sincere you choke, it will only be regarded as a low-level marketing tool.
If this is still a bad movie, it will be a huge offense to the audience-Because you're ignoring the people who should apologize the most, the audience that makes up the millions at the box office.
Of course, directors can apologize to investors for the unbearable data, especially if a rookie director is deeply anxious about his career from the beginning. But if we ignore the audience, we are avoiding the script, performance, and audiovisual language that the audience cares about, which in itself is avoiding cause and effect.
This is also the reason why the director of "Flower Thousand Bone" apologized until now. The director apologized to the investors and the team, but he did not apologize to the audience because of the quality of the film, and in the end it was nothing more than a bigger backlash.
When we write this film review, we are not persuading everyone to avoid lightning as before, it is already obviously bad, just to help everyone on the lookers make it clear who caused a bad movie and a huge loss, and who should really apologize.
Flower Thousand Bone".
Body. The biggest problem with the film version of "Flower Thousand Bone" isGreed for perfection.
It wants to use less than 100 minutes to tell a story that can only be told clearly after 50 episodes of a TV series, which is a suicide of a snake swallowing an elephant.
In the face of such a large-scale story, and if it wants to retain the backbone and all the highlight plots, it can only choose compression and fast forward without subtraction. So you will find that the whole ** is in a hurry like rushing to the scene.
Like the beginningThe characters rush to the scene
The movie only took less than eight minutes to explain what happened to Hua Qiangu from birth to the present, and then hurriedly brought in the Immortal King, making him the guide of Hua Qiangu, and rushed to push Hua Qiangu to stay on the apprenticeship. As for how to pull between the two strangers, why they help, especially when the other party still has a "demon" face, the psychology of Hua Qiangu's characters is blank.
Not only that, but many of the characters in the movie areAppears and disappears quickly, without any explanation of the inner ink and the relationship between the characters, because the movie really doesn't have time.
For example, the appearance of the character Qingshui (played by Zhang Zining) relies on the action of handing her eyes to forcibly explain her friendship with Hua Qiangu.
For example, the relationship between Kill Qianmo and Hua Qiangu is also very perfunctory, just because Hua Qiangu helped Kill Qianmo block the stone, the latter broke a finger and gave it to her as a bone whistle. What's more, in this scene of blocking stones, the actors' body movements are just lazily raising their hands high and crossing, tightening their upper limbs, no matter the amplitude or strength, there is no intention of blocking stones for the people behind them.
Again,The plot rushes to the scene
One is to rely on a large number of coincidental collages to advance the plot at great speed. After the completion of the establishment task, in order to allow Hua Qiangu to quickly arrive at Changliu and enter the confrontation, the movie set up many coincidences.
In addition to the aforementioned sudden arrival of the Immortal King to show the way for Hua Qiangu, the movie immediately brought in the immortal who took away the artifact, so that he happened to meet Hua Qiangu halfway up the mountain, and happened to put the artifact into Hua Qiangu's body before he was about to die. Finally, let the spirit insect sugar treasure exert its spiritual power at this time, and turn into a butterfly with a thousand bones and fly to Changliu.
One is to quickly enter the masochistic climax, piling up the plot in one go. The most typical thing is the lengthy plot splicing between Bai Zihua and Hua Qiangu.
Like Hua Qiangu hiding behind, he watched Bai Zihua drink the porridge he boiled; Bai Zihua bet on the cultivation as a sealing artifact, and read the line "I can't go down with you"; Hua Qiangu held the half-naked white painting and let him devour blood; Hua Qiangu easily collected three artifacts and saved Bai Zihua.
There is no complete emotional logic, and there is no detail written.
In addition, it isEmotional rush
I counted it, and regarding the core master-apprentice relationship, the first half of the movie was set up only three times to meet each other, and it quickly pushed to what I thought was an emotional climax.
For the first time, Bai Zihua sent away the butterfly that fell on his hand, the embodiment of Hua Qiangu.
The second time, Bai Zihua heard Hua Qiangu's exclamation from afar, and flew over from the Palace of Despair to catch Hua Qiangu, who had fallen from the sword.
The third time was at night, Hua Qiangu secretly ran to the back mountain to celebrate her birthday, and Bai Zihua gave her a broken sword and taught her to fly with a sword.
Even if you don't mention the lack of foreshadowing and crochet in the movie to lay down the master-apprentice relationship between the two, it is still difficult to avoid that these three scenes all unilaterally emphasize Bai Zihua's love for Hua Qiangu, which quickly pushed the first kiss between the two. The involvement and entanglement that was originally hindered by identity and boundaries seems to have been replaced with a naked **.
And this practice of erasing the emotional bonds laid in the early stage will also directly affect the establishment and completion of the later dramatic conflict, which is also the reason why the blackened climax scene in the movie after Hua Qiangu's torture looks so thin.
The white paintings, which originally sacrificed their own emotions for the sake of the common people, and the flower thousand bones who sacrificed themselves for love, were all diluted into tools that swayed from side to side with emotions.
In these nearly 100 minutes, you don't know what to watch, and in the end, it's like being pressed your head to watch a large number of clip clips, and you are crammed with a life of love between Hua Qiangu and Bai Zihua.
There is no characterization in the movieIt's all functional.
For example, the villain Ni Mantian, her motive is shallow love and hate, and even the reasons for love and hate are extremely vague.
disappeared from Changliu, appeared in the Seven Killings Palace, passively experienced the death of his father, and saw Bai Zi's painting sympathetic to Hua Qiangu, so he became a villain who wanted to kill Hua Qiangu. Perhaps the most noticeable change in her was that she disappeared in white and reappeared in a dark purple outfit.
There is also no reasonable starting and closingThe twist is all about the lines.
For example, Bai Zihua drove him down the mountain in order to protect Hua Qiangu. The treatment of this turning point is to let the Immortal King reappear, saying that Bai Zi's painting is not guaranteed, so Hua Qiangu turned around and returned to Changliu, and inexplicably understood everything, admitted his mistakes, and took the initiative to take responsibility.
Another example is the disappearance of Ni Mantian, which is also illustrated by the sudden chance encounter of Changliu**, scolding Hua Qiangu for colluding with demons and kidnapping Ni Mantian.
EvenThe special effects are like a joke.
The original function of the special effects in this kind of costume fantasy theme is not only to serve the visual spectacle, but also to assist the actors to complete a more realistic and three-dimensional performance.
But in the film version of "Flower Thousand Bone", let's not talk about how inferior the special effects themselves areThis is completely used as a tool for laziness, and even continues to expose the shortcomings of the actors' acting skills.
All the fighting scenes in it, such as Bai Zihua and Killing Qianmo, Seven Killing Palaces and Changliu Immortals, with the strong support of special effects, there is not even any close collision and friction between the two sides of each other.
PlusThe actors themselves are stereotypical and clumsy in their acting skills, the whole movie is like a disaster.
Let's talk about Hua Qiangu first, just an example.
In the scene where she was assassinated by Bai Zihua, blood seeped out from the inside out, except for the surprised eyes of actor Chen Turin at that moment, not only did this character have no other body movements and body ups and downs to show the injured state, but there was not even any change in breathing. The whole person was like he was fine, and he had to hold Bai Zihua with both hands, and asked the other party what was wrong.
As for the treatment of Bai Zi's painting, actor Li Chengbin chose to invoke You's soft voice when the character appeared, and then he could only rely on frowning and cold face to show the coldness of Bai Zi's painting as he understood it.
In the end, seeing Hua Qiangu's blackening, his reaction was only to support the ground with his hands, sit on the ground, and be stunned, lacking coherence and layering in the performance of the characters, and he was very mechanically making specific reactions.
The audience's anger is not without reason.