After experiencing the epic failure of "Four Seas", Han Han and "Korean-style movies" have come to an important crossroads. 
I have systematically elaborated on why "Four Seas" failed and why "Korean-style films" have entered a predicament, I have systematically elaborated on it in my article ""Four Seas": See You Once in Three Years, Never See You Again" two years ago, and I also said that it was not a film review and not a history**. 
Obviously, after the rout of "Four Seas", the original Korean film route naturally cannot go any further. But what to do, this is obviously a very test for Han Han and his behind-the-scenes team. It seems to be the best option to reopen a new genre, but on the one hand, the resources accumulated by the original route cannot be used. On the other hand, if the "Korean route" is so easy to innovate, Han Han will not repeat this line again and again until the rout of "Four Seas" is produced. Therefore, developing on the basis of the original IP is the most natural choice in terms of creation and commerciality, and there is undoubtedly only "Flying Life" with such a foundation. 
However, there are still several difficulties in this way, one is that in the original work of "Flying Life", Zhang Chi is likely to be a "burp" in the end, and the previous work sells this "feeling". Therefore, Zhang Chi's resurrection in "Flying Life 2" first denied the tone and value core of the original work. The second is that the original core of "Korean-style movies" is very thin - just like someone summed up before that "it is the story of a group of street slickers wandering" - if a new routine is developed and developed towards "fusion genre films", it will not only surpass the ability of Han Han and his team, but also not be easy to capture the previous audience. Therefore, "Flying Life 2" must only do some simple addition and subtraction on the basis of the mature commercial genre films in the past, so as to maintain the original commerciality of the IP and attract the box office. And Han Han did the same. 
"Flying Life 2" is a "major cultural industry development project in Shanghai", that is to say, Han Han will continue to stand in the entire Shanghai cultural industry. After doing this analysis, we can make some in-depth comments on the plot. Although it is easy to create a sense of atmosphere for sports competition, we have seen too many similar routines over the years, so it is difficult to innovate. "Flying Life 2" undoubtedly faces such a dilemma. We see that Han Han's team still uses a relatively safe route and applies a more mature template, such as "Fierce Wars" starring Zhang Jiahui, which was almost copied one-to-one by "Flying Life 2". 
At the same time, in order to prevent the overly simple "chicken blood" from causing the audience's disgust, "Flying Spur 2" has been creating a "wasted" character for Zhang Chi in the first half, it seems that his task is to let Li Xiaohai played by Fan Chengcheng "inherit" himself, so Zhang Chi has become Li Xiaohai's spiritual "father". 
And the second half looks like a temporary "self-transcendence", because the engine seal in the first half has been laying the ground, which is not surprising. It can be seen from this that the "energy storage" part of the film has always been the logic of our common racing films and inspirational films, if that's all, it is obvious that this is also an ordinary genre film route, and the real "Han Han characteristics" are embodied in **? From the finished film, we can see that Han Han's team has made a major trade-off here. The first is to give up Han Han's iconic "Wenqing Quotations", and greatly abandon the golden sentences and stalks of "literary youth" and "middle two" with distinctive personal characteristics in the past. This is a risky but inevitable trade-off, because the collapse of "Four Seas" failed so painfully that Han Han's team had to make a strong man's broken wrist sacrifice to the iconic elements of "Korean-style movies" to ensure commercial success. At the same time, Han Han introduced the representative of the competition organizing committee played by Zheng Kai to introduce social criticism. This is also a major change to the "Han Han model". We know that Han Han, who appeared in the era of literature and online blogs in the past, although he made his debut with a slogan of criticizing the "system" and social issues, in his films, this point is obscure and weakened. Although on the one hand, this is due to the fact that the "Han San" and "Fang-Han Polemics" of that year made Han Han fall into the center of the storm, so that he had to have some scruples; On the other hand, Korean films use the "Wenqing line" to package their own ideological attributes, which makes him unable to make too many slogans or slogan-style criticism on the bright side, lest the content of the film be too "realistic" and lose its commercial attributes. However, it is impossible for Han Han's film to really abandon this position, because this is the "basic plate" that he has been able to gain a foothold in for several years. Therefore, most of the criticisms we have seen in Han Han's movies in the past are secondary, self-deprecating, deconstructed, and gag, which seems to use "absurdity" to dissipate "anger". And "Flying Life 2" obviously cannot replicate such a line, so its criticism is very "realistic", directly putting "bad people and bad things" on the bright side, making the film's "opposition between good and evil" and "position judgment" very facial. Although this is easy to arouse the emotional resonance of the audience, it obviously weakens the "texture" of the film, so the second half of "Flying Spur 2" seems very "anime", especially the part of Zhang Chi's counterattack, which mixes the two emotions of "bloody counterattack" and "Kuang Fu Justice", the effect is of course significant, but it is also superficial. Don't forget that the opponent of Zhang Chi played by Huang Jingyu in the previous part is actually a positive character. Interestingly, other films released this year, such as Article 20, lock the core value of "fairness", which is very thought-provoking. I have summarized in several Spring Festival film reviews in the past few years that every year's Spring Festival films show a very consistent temperament and value orientation. This is obviously not explained by coincidence. There are several reasons that can be explained: the first is the thinking of "peer competition", that is, when the major production units set up the project, they will consciously refer to the current route of the counterparty. The second is that, after all, cinema is a representative of ideology and superstructure, and is also influenced by the current social environment and economic base, so the focus on social emotions and public issues is also governed by social laws. Then, "Flying Spur 2" is talking about the issue of "fairness" in such a face-painted way, obviously just using the emotional value of this issue to maximize the commercial effect, which is a common routine, and there is no need to be harsh. But if you think that Han Han's team has these "two brushes", you obviously underestimate Han Han. Therefore, we saw Li Xiaohai played by Fan Chengcheng, as a less typical "second generation", became the second protagonist of the film. This is very interesting and deeply buried foreshadowing. Because Jia Bing previously played a very comic boss role in "Hurricane", the audience can easily confuse it. 
But it's not that simple, Jia Bing's role is that the entrepreneurial boss who made his fortune on imitation production of cars exclusively for the market, and his company is in trouble. And Li Xiaohai, as a less typical "second generation", obviously does not have the "common problems" of the second generation in the stereotypical sense that we usually have, such as not being grounded, arrogant, etc. 
This is very thoughtful. Obviously, Han Han has reshaped the image of the bosses of private enterprises who have been working hard in the past few years, especially the middle weight who has a certain volume but has not reached the level of "giant". This touches on another important issue of this year's Spring Festival file, "inheritance", which I also summarized in the film review of "Article 20". After the reform of the private economy has entered the stage of "40 without confusion", it is not only the pressure and hesitation caused by economic transformation, but also the pressure of the "creation of a generation" to consider the inheritance of the foundation, and everyone is trying to find a new way. It is also mentioned in the film that Zhang Chi, as a representative of the so-called "wild route", will gradually disappear into the racing industry famous for kryptonite, and he will not be replaced by better racing drivers, but the second generation with "money ability". 
This is also the new logic that Han Han tried to introduce in the film, that is, the second generation is not "all wasted", but the logic of industry iteration has obviously become "who can krypton gold and who is the biggest", which is of course more and more unfriendly to counterattackers. Whether this is an allusion to the reality of the current social solidification and slowing down of class mobility, I think the audience will come up with the answer for themselves. I also maintain an objective attitude towards this kind of "criticism" and "ridicule". The only thing I want to point out is Han Han himselfNeverNot a representative of the "wild route" shown in his films, although for several years, whether it is his literary works, racing cars, movies, etc., it seems that he has tried to portray him as a model of such a "civilian counterattack". From the earliest literary route, Han Han has always stood behind the most professional and best team in the entire industry at that time, such as Lu Jinbo, who was the earliest successful person in Chinese online literature, and later switched to media publishing and was also one of the best players. Therefore, Han Han has never been a "grass platform", but the product of the most professional "root and seedling red". And the racing route, although we are not professional and ignorant, has been fully reflected in "Flying Spur 2", the success of the racing industry has never been only by individual ability, but the result of the concerted efforts of the whole team, which is not shy about the plot of the movie. As for the movie, from the rout of "Four Seas" to the great transformation of "Flying Life 2", Han Han's team still reflects very commercial rationality and mature ability, not only the figure and means of "transformation" are very professional and sophisticated, but also from publicity to the final result of the box office, it also fully reflects the team's firm attitude and determination of "no room for loss", and this is not possible without the blessing of ability and resources, which cannot be done at all during the Spring Festival schedule. 
Therefore, Han Han is actually closer to the "lithography route" in the film in reality, and his previous "Wenqing series" has never been the realistic logic of his growth. But what is interesting is that countless teenagers have idolized Han Han and regarded him as a model of "rebellion", but they have forgotten that he has always been the most outstanding representative of business rationality in this era of market economy. Therefore, Han Han used his literary and artistic works to influence and change generations of young people, and because of the collapse of the original business logic, he had to return to a "bloody counterattack" route, and personally destroyed the "Wenqing route" that he relied on to become famous, which is the price that Han Han's audience has to bear. At the end of "Flying Life 2", Zhang Chi, who was racing all the way, saw the car he drove in the hallucination, accompanied by him like a ghost, and finally merged into one. This paragraph made me creepy, as if it was a "reverse shot" of Brian played by Paul Walker in "Fast and Furious 7" saying goodbye to his brother and going his way to different people. We see that here, Han Han's literary and artistic route has become a "ghost", and the mature and sophisticated business rationality is "people", and the two finally merge into one characterIt marks the final maturity of the "Han Han route" and Han Han's character。In the same way, this ending also marks the complete death of Han Han in the past, and the generation of (literary) youth abandoned by Han Han is forever sealed in the Bayingbrook S bend and the ice and snow that have become history.