Change Your Image
gogoal1
Ratings
Most Recently Rated
Reviews
Yu zhou tan suo bian ji bu (2021)
A Tale of Absurdity, Passion and Neurosis
Tang Zhijun's appearance on the stage was unlike any character in Chinese cinema. Between destitution, aloofness, stubbornness, and timid conformity to reality, shadows of Don Quixote and Onegin shimmered around him. Yet, one cannot simply label him as mad or inconsequential. Tang Zhijun, the editor-in-chief of a faltering "Cosmic Exploration" magazine, firmly believed in extraterrestrial beings and was fervently devoted to unraveling the mysteries of the universe. Little did he know that he was the alien on this planet, torn between lofty ideals and the constraints of reality. The film "The Cosmic Exploration Editorial Office" presented, just like Tang Zhijun's character, an amalgamation of absurdity, deep emotion, neuroticism, and a poignant sense of loss. Ultimately, Tang Zhijun discovered the secrets connecting the universe and the individual, as the countless stars within him aligned with the vast expanse of the cosmos. The narration during his nephew's wedding can be seen as a profound realization after his successful cosmic exploration, or perhaps as a colored self-consolation of an idealist who had faced failure.
Regrettably, after Tang Zhijun's stunning entrance, his character underwent a minimal transformation. The near-tragic gait and the comedic muttering seemed to dissipate and disintegrate, akin to repeated annotations following a noun's appearance. The original character setting failed to undergo cell-like division, and the film's narrative revolving around Tang Zhijun became drawn-out and fragmented. The transformation began with the search for a higher purpose. It began when he found companions. It began when the exuberance of Tang Zhijun's lively loneliness softened. Rebellious idealism thrives in a relatively closed space, fermenting its power in solitude. His zeal burns with the cold stares and spit of others, only to evaporate and dissipate under the scrutiny of sunlight. The film employed a relatively convenient method, with incessant interventions from eccentric characters and rural folklore, diluting the resolute and desolate determination that says, "Even if all abandon me, I shall proceed." Surprisingly, the middle-aged woman Qin Cairong became an exception, as her current hysteria paled in comparison to her former biting sarcasm. The wandering monk, the itinerant poet, the wanderer with no place to call home, and the middle-aged woman grappling with the secular world-all of them are extraterrestrials from some distant planet.
True passion is detached from others, unaffected by either disapproval or approval. The idealist stands in opposition to the entire world and the era. The radiance of the idealist lies in its dimness. The strength of the idealist stems from his weakness. The pride of the idealist is a rebound from a certain degree of self-abasement. He oscillates between disdain for companionship and the yearning for recognition, repeatedly coming back and forth.
The film failed to capture the complexity, entanglement, conflict, and contradictions. The character development bore semblance, all earnestly indulging in incongruity, respectfully mocking one another. They entered the world with an ascetic posture, endeavoring to present the clumsiness that follows the refinement of intelligence, like heavy grains from coarse materials. In terms of storytelling, it exhibited an elitist expression of overflowing desires, shaping central ideas as the plotline. The film exuded a densely hollow atmosphere, nonchalant tension, and an approach to heavy matters with lightness. "The Cosmic Exploration Editorial Office" derived its creative impetus not from aesthetics but from attitude. Aesthetics represent the shortest line between two points, the mortise and tenon structure of cause and effect. In contrast, attitude is an unrestrained impulse, the instinct that springs from the depths of life, eager to explore while glancing around. For example, the film attributed multiple metaphorical meanings not to different characters and actions but to various objects, like stone lions, sparrows, donkeys, carrots, and the journey from Beijing to the countryside and then to an abandoned mining area. It was like capturing a feature film with the mindset of a short film.
The viewers' admiration is also worth contemplating. It is necessary to discern whether the characters they identify with represent a form of self-rejection and whether their appreciation merely reflects self-admiration. The knowing smiles during viewing represent both introspections after tearing oneself apart and the secret relief after self-reflection-hoping to be like him, yet being grateful not to be him. Moreover, this is not merely the viewers' perspective; it may even reflect a certain subconsciousness of the creators. The enigma of human communication is eternal.
Shen hai (2023)
Amazing views and deep to think,milestone that still need to be sculpted
The advantages and disadvantages are obvious, but I am still willing to call Deep Sea a good movie.
The most significant advantage is that its particle ink production is a milestone in Chinese animation history. As the director Tian Xiaopeng said, the United States and Japan have their mature animation style. At the same time, their team, for the first time, will be the most traditional Chinese "ink" and advanced three-dimensional technology to combine, taking two years to develop a new Chinese style "particle ink," which is genuinely an authentic Chinese style screen display. In the animation, the ink's intensity and dryness, the lines' straightness and squareness, the denseness of the chops, the lightness of the staining, and the warmth and coldness of the colouring all give the audience an excellent visual experience. Modern technology presents the particle ink picture between ink and oil painting, with low graininess and rich layers. The ocean swirl reminds one of Van Gogh's starry sky, and the hometown of Nanhe reminds one of Monet's countryside.
A dynamic shot consists of 2 billion particles to achieve a sense of ethereality. It again shows the audience that there is plenty of sound technology in Chinese animation, and its production modelling can go its own way.
Such a simple story, which needs to support a 2-hour movie and with the help of an otherworldly shell, is an excellent test of storytelling ability and imagination. My overall opinion is that imagination is sufficient, but the ability to tell the story still needs to be improved. I believe that many viewers who have seen the film have had a similar viewing experience: the first 30 minutes are spent marvelling at the beauty of the film's production, the middle hour is confused by the nonsense of the plot, and the final hour is slowly realized to be the main character's near-death experience. The last 30 minutes are hit by touching after being completely confused, which is what the director's narrative is trying to This is what the director's narrative is trying to achieve. Just like the high praise answer before the pearl said, he is betting that the audience will survive the first 3/4 of the film and then realize and tear up. The film consists of two layers of storytelling, one is the near-death imagination of a young girl suffering from depression, so it will seem very jumpy when her inner self-help gradually clears. In the end, there will be a massive reversal of explanation, where it is easy to hit those who have struggled inside the audience. But the risk of doing so is too significant, and I expect this film to be highly polarizing. The director is so narrative, deliberately not picking out the results of this is near-death experience may make many viewers look baffled, and not easy to find many details.
Depression is actually a loss of perception of the real world. There is a very graphic analogy said depression is like a big black dog eating you, but you can not drive it away. Slowly your whole world is only this big black dog, you no longer feel a trace of real-world warmth and goodwill.
The first symbolic image of the nightmare is the sea genie, the sea genie is, so Cthulhu's image shows that it is not a severe genie. Its symbol is more universal, is everyone's greed, extravagant and the most desired thing in the heart, so people who drink the lump soup cooked by it will fall into a happy illusion, the heroine also heard her mother's song through it, but it is also very dangerous, a little carelessness will become huge and devour everything, this It is the embodiment of greed.
It is the heroine's nightmare. It is an illusion of the red sweater, the red sweater is the love left behind by the mother, is the armour of the Senju and escape from the hut, as long as the grief is caught back in the hut by the red bereavement ghost, escape from reality, deceive themselves, get depressed, ostracized by the people around, called "bad luck."
Every time Nan He performed magic, he and the helmsman sea otter insisted on going to the Eye of the Deep to help Senjou fight depression. They insisted on going to the Eye of the Deep so dangerous, long ago, not for the sake of sound money (one of the shots is Nan He just saved the coins thrown away to keep Senjou), but to go deep inside the heart of the depressed to find the knot of depression.
This knot is the phone call from his birth mother that came to him in the drawer when he finally reached the Eye of the Deep.
But eventually, the phone sinks to the bottom of the sea, which means that it is precisely the obsession unravelled. The call that finally appears is actually not the birth mother back but the stepmother. The original film of the birth mother is cold, heartless, and doesn't care about the message of the daughter, the heroine, all just the pursuit of the shadow of that love, a floating that is scattered. And along the way NanHe's get-together gave her a sense of home, so she felt the love of family, but also gradually recalled the happy times with her father's stepmother's brother. Hence, she jumped out of the obsession. The birth mother also came back or not is no longer critical. Nanhe took her out of depression and became her spiritual regenerative parent. She was also the last to set aside the call to save the Nanhe. So a reason, many places can be precise.
This narrative has a lot of problems, and it's easy to get confused without looking into it. The characters also have a big problem standing up unsteadily (or maybe it's the unique way depressed people see the world). The story's first half is a villain's image of a money-grubbing villain, and the second half is very calm, brave and righteous. The memories of his hometown and the appearance of the golden fields suggest that Nanhe has an exciting past experience. Unfortunately, what prompted her to save the heroine, what experience formed his character, I can not see for the time being. In short, the picture is a milestone, but the plot still needs to be sculpted as well.
Black Panther: Wakanda Forever (2022)
Boring and total failure
Marvel's comic book movies have lost their interpretation space since stage 4, as they are becoming less and less like movies and more and more like the comics themselves or live-action versions of the comics.
The plot almost looks like written by AI, with constant mechanical séances, constant raw twists, constant nonsense, and constant scattered disorder, just like the original comics, just geared towards a teenage audience to make them look funny.
The whole film seems to feminize "Black Panther" and again with "Sea King" and "Avatar: The Way of Water.
The script of "Black Panther 2" was grafted.
As for the script, the first hour of the film rambles on and on, making it sleepy. What can be told in half an hour is watered down to more than an hour. There are several scenes of armed fighting at the village entrance, but it is not exciting. This hour told a thing, the black sister, Heart of Steel, made the probe ship threaten the Nama clan, so Nama captured and killed her. Then the heart of steel and the princess were arrested together. Only after being caught did the story enter the core drive of the plot, and the dialogue between the princess and Namor made it sound a little confusing. Namor, while talking about killing the Heart of Steel, is to avoid exposure to protect the clan while blackmailing the princess so that Wakanda together to cooperate in the conquest of the land.
Take a step back, you united Wakanda to attack land. Even if your underwater village does not expose the location, that war will have to die, ah, the death of your people. And what protective role does this play? There are apparent signs of forced confrontation here, and the princess just finished saying we must find a peaceful solution. Nama immediately turned the conversation and said that this was not important. We have to do it, and you come or not? If you still need to, even you will do it together. If you are so brave, there is still fear of what is exposed. A typical sentence can solve the problem of advancing the plot forcibly blackened after the script follows the "Spider-Man 3" three-stage formula, the protagonist, by immaturity, to the side of love of the departure of the blow to complete the growth of a unique side. Here is the only place where "Black Panther 2" is better than "Thor 4"; the protagonist princess has a complete character arc, and the journey of the heart is visible. And unlike Thor, what to do, the director said he had to go. Like a puppet on a string. The mother was killed to become the new Black Panther Shang Ren's turning point, and "Spider-Man 3" Green goblin killed Aunt May similarly.
Finally, the values conveyed by the plot. We can call it "the skin of a black man but the heart of a white man." The West can never get rid of colonialist thinking. When the new Black Panther was ready to kill Namor, he felt the call of Our Lady and said: "Surrender; we in Wakanda can protect you. Your people can not die. Don't let revenge blind you. Notice a shot of Namor as if he saw his mother when the New Black Panther showed mercy. Absolute! The colonized instantly completed the subjugation. The colonizer becomes like a mother, with kindness and generosity. The mother queen of the two and the Christian trinity of the Holy Mother completed the merging in the new Black Panther. The light of the great love of the world shone so brightly that it touched the evil soul of Namor. He returned peacefully to the embrace of his mother.
In general, "Black Panther 2" is stronger than the poor "Eternals," "Thor 4," and so on. At least the cause and effect of the plot is still relatively complete, and then some remembrance of Boseman's complex in it.
Duk sit dai jong (2023)
Fun but don't take it too seriously or it will become absurd
Watchable, has a classic commercial enjoyable film structure (the second half of the trial in the theatre when someone applauded wow, to be so exaggerated ...) plot is still relatively dramatic, justice is through the luck of coincidence down to earth, understand the super high box office in Hong Kong, a kind of injustice to hold the gas out in the cinema it (also subtly fit the now hostile to the rich mood may also be good at the mainland box office). Huang Xielin is still good-looking, and Wang Danni Liao Ziyu is more than expected good (Miss Zhong is abominable, but Fish is magnificent). But there are two lines I think are not right: TK persuaded the Fang family army to forgive Lin Lianshui, and Fang Lin persuaded Zeng Jie'er to reappoint them. The content of speech is too male-centred discomfort. Fang, Zeng's feelings or interests are the focus of these two persuasions and should be considered.
The dramatic twist is set too quickly, and the case trial is also very brown, forensic, and police matters for lawyers to do, and not many venomous lawyers, but very speech talent. Xie Junhao's role is also a very rigid transformation. More gratifying is Zihua's Cantonese spit clear, slow, and excellent understanding.