Lone Wolf Blood 2 Lone Wolf Blood LEVEL2 (2021) Japanese underworld, comparable to wisdom teeth

After watching this movie, I was really shocked, and a group of young people used their own blood to present a work that did not lose the previous work. Director Shiraishi's control of gangster films really has nothing to say. Losing the thrill of Hiroshi San, who has seized the senses, is what director Shiraishi thinks is left for the second part of the first part. / It is said that the second part of the Caste is much inferior to the first, especially the loss of the soul character Hiroshi San. However, in the second year that Tao Li won the best male supporting actor of Rio and Blue Ribbon with the lone wolf, he won the Japanese Austrian Film Emperor in one fell swoop with the news reporter. At the same time, I think that in addition to the actors will act, the director will direct is more important, all the actors on the set are their whole body to the director to create, and the quality control of director Shiraishi I believe very much, the two are enough to support the film. At the same time, this is the opportunity for this new generation to prove themselves, after all, the new generation rarely braves the Showa black film. The image of the bloodthirsty, grumpy, and conceited gangster boss has been very successful, adding an undercover plot on the basis of the previous game, the blood index has risen sharply, and the picture of the eyeballs and cruel broken fingers is unbearable to look at.

Yukio Mishima said: Tempering the imagination of death and crisis has the same meaning as sharpening swords. Corresponding to the Ichinose boss of this work, he is simply a model of everyone's drunkenness and awakening- soberness in the world, in a word: when Hioka Sang, who is walking between black and white, sits back and relaxes and concludes that the fifty sons will disappear, and when the Otani group laughs at Kamibayashi as a crazy person who can't become a climate, an unexpected fierce battle is quietly brewing. Feeding pig, gouging out eyeballs, pairing long knives, lust, extreme violence, bloodshed – Shiraishi and Ya present the elements of traditional Japanese gangsters that have rarely been seen in recent years. There are a few scenes that are particularly profound, and they often remind me of Du Qifeng's "Peace is Precious" human flesh feeding dogs. I especially like the last scene, Matsuzaka Momori follows the lone wolf on the hill, as if in pursuit of himself who has been favored by that era, and forms a neat battle with the lighter he holds up the wolf totem in the last scene of the first part. Wolves have howled, struggled, fought, and what is left in the hearts of the lone wolves that have survived?

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