It's not easy to come up with a movie in 2020, and even criticism has to make it worth enough, after all, Guy Richie can launch a work in this context, and I respect him as a gentleman.
When in the same theme, it is inevitable to compare, the content and narrative methods of "Gentlemen" are "flowery", drama within a play, multi-line narrative, ring narrative, and a variety of routines are exhausted, which is probably the best job of British director Guy Richie. Like many commercial films, this film is intended to entertain the audience.
Guy Ritchie, "The Gentlemen"
First of all, the gangsters in the movie are still set on the three groups of Chinese, Americans, and Russians, which is very similar to the gang setting in the console masterpiece "GTA: San Andreas", and the typical Western perspective also meets the element configuration that a popcorn blockbuster should have.
Although compared to France's Luc Besson, Guy Richie's work does not have parkour, drag racing, big bang scenes, but the act of smashing the audience can be described as a pure fire, always dedicated to flirting and mocking the audience. His satisfaction to the audience lies in his sense of participation, like Liu Qian's magic, the audience always hopes to expose the mystery behind him at once, but in the end, in the fantasy he creates, Guy Richie is definitely a master in this regard. Unfortunately, at this stage, we can't sit in the cinema with popcorn and socialize, otherwise its value will be more complete.
Luc Besson, "Violent Neighborhood"
But what movie is a good movie, I think he still has a certain standard, although it is not so obvious. Take the movie "Interstellar", although it is a science fiction film, it is not difficult to see that in the end, it is not difficult to find that it is not so much about the relationship between "people and the universe", but rather about the relationship between "people and people" in such a special context. This is where "Interstellar" is clever, in fact, the movie should be so, all the subject matter with humans as the protagonist, no matter what kind of environment it is in, it must take the subjective emotions of human beings as the starting point, and talking about the environment without human emotions is to play hooligans. Because the movie is for people to see, no matter how fierce and vicious the characters in the play are, he is also a carrier of emotions, and if he does not have a direct resonance with people, then the shaping of the character is a failure.
Christopher Nolan's Interstellar
It has been 125 years since Lumiere's 1895 film Factory Gate, and this yellow-faced behavior really shouldn't have happened, including the film's allusion to a very unpopular bad guy: Fu Manchu. People don't know why he is bad and what he can enjoy in the bad, these are all things that the director has not conveyed to us, but simply shows the ugliness of the character to cater to the self-esteemed Aryan imagination of the "yellow peril". Just like the Westerners in the eyes of the Qing Dynasty are red-haired monsters who can't stand up after stabbing their knees with bamboo poles.
Returning to the spiritual connotation of the film, another gangster film with similar themes to him, "The Irishman", is the same as "Interstellar", which tells a familiar story under a background that people are unfamiliar with, not so much as the deceit between colleagues and hostile forces, but rather about the relationship between a person and time, a sense of life, and an analysis of human nature.
When De Niro shoots and kills Al, all the emotions, entanglements, confusion, and depression that the audience has brewed before are reduced to despair, and at this moment, Guy Richie's noisy use of the camera and the small wits on the script are eclipsed.
Martin Scorsese, The Irishman
The decline of the so-called group of people is not as heroic and heroic as the little Margo in "The True Colors of Heroes", and it may be more realistic that a few gangsters live in prison like years. Wives and children are scattered, and everyone is separated from each other, and the old guy who does not know himself makes people sigh.
"Who are you still protecting?" The group of people you want to protect, they're all dead."
"Contact my lawyer right away".
"Your lawyer is dead too?"
"Who did it?"
"Cancer".
What a realization that Martin Scorsese has created such dialogue, and what else can I say but Cowboy? Only one paragraph is more than a hundred plot reversals, a thousand lines of narration, and the shock and impact of memories on the soul are strong. Have we seen so many gangster movies that we still don't know? It's not hard to kill people, the gunshots fall to the ground, that's all. The difficulty lies in how to convince yourself, how to brew a reasonable explanation from the inner world.
Although "Gentlemen" is based on a kind of rebellion and admonition between the front and back waves, I don't see the kind of sense of time shown in the Coen brothers' film "The Old Man", the kind of heroic twilight, including "The Godfather", "Once Upon a Time in America", "The New Police Story", "Casino Storm", "Good Guys" and so on. Guy Riche is replaced by a paradox of "less to be steady and old to be crazy", from the bridge section of a few old men selling rot, "gentlemen" is indeed disgusting and embarrassing to watch, this kind of unconcealed behavior is not glamorous, but disgusting.
The Coen Brothers, "The Old Man Has No One to Rely On"
In "Dreams Shine into Reality", Wang Shuo used Han Tongsheng's mouth to say the dignity that the old man insisted on:
It turned out that everyone believed a little more, and felt that every little light on the ground was illuminated by that dream, and they all leaned back on their necks to catch the light. When the neck is hot, it feels warm; when it is tanned, it feels healthy, the skin is hot, and the dream is closer; it is blistering, it is already in the dream, it hurts and it is happy. The bubble is broken, the flesh is exposed, the meat is cooked, the meat is black, the meat is mushy, the nose is crying, and this is not gone! How dare you go! How much not to go! Must be dead, must be! The spotlight is off, the grandfathers have no shoulders, flashing grandfathers, grandfathers screwed, grandfathers can not bear the life of nothing to carry. Grandpa playing with matches, grandpa saving cigarette butts, grandpa fart warming the bed, grandpa sunbathing on the moon, grandpa can't see anything and still stand there and look, leaning on his neck, staring at cataracts, what is this called, this is called persistence!
Xu Jinglei,"Dreams Shine into Reality"
Two bearded old men stroking each other's thighs is not fashionable, but narcissistic.
Of course, we have to have a premise, for many viewers, whether the film has thought-provoking ideas, whether there is a direct pain to people's hearts may not matter, people are simply addicted to the sharp shots, keen to sell cute in front of the bizarre script, for the audience with different needs, it is indeed worth the ticket price, after all, some viewers are hi this.
This movie doesn't actually need an actor like Matthew McConaughey, because there is no inner drama in the whole movie, most of the comedic conflict is not in the emotional aspect, there is no inner struggle, only the conflict between the various parties in the script. Stallone, Schwarzenegger, Dawn Johnson also played, and can play better.
In fact, the confrontation between Matthew McConaughey and the Chinese who resembles Fu Manchu is one of the few stages in the film that can show Matthew's emotional outburst, but the precious shot is dismembered and torn apart. Matthew's full of emotion can only be sacrificed for the interspersed service shots.
Abandoning the spiritual core expressed in the film, some viewers have tried to pick up some details from it to prove that they are not in a daze to listen to the noise and watch the hilarity, in a vain attempt to prove that they are really watching the doorway.
A shot shot out of the trunk was heavily praised, in fact, it has almost become an unregistered "patent" in Martin Scorsese's "Good Guys" and most of Quentin's films, and we call this perspective "trunk perspective" in Quentin's films, but whether it is creative or a tribute, it is a performance of bull forks in the eyes of such audiences.
Quentin Tarantino's Pulp Fiction
In addition to the camera's penchant for "killing Matt" in the countryside, Guy Richie also implanted the concept of talk into the film, and several of the directors we are familiar with are Woody Allen, Jiang Wen, and Quentin Tarantino. One of the most popular actors to act in movies is Woody Allen, who made this statement in the movie "Annie Hall".
There was a guy who went to see a psychiatrist and he said, "Doctor, my brother is crazy, he thinks he's a chicken himself."
The doctor said: Then why don't you bring him here?
The guy said, "But I need eggs."
That's how I feel about the relationship between men and women right now, it's completely irrational and crazy and even ridiculous, but I think we've been going through it all the time because most of us need eggs.
This kind of language system with absurdity, jokes and self-deprecation, accompanied by some helpless lines, is a language system with strong Woody Allen colors, which is worth playing.
Woody Allen, "Anne Hall"
And Hou Mai's movie "Claire's Knee" has 1400 lines of dialogue in 100 minutes, which can be called the king of the movie's words, but when you taste it carefully, the language is still of high nutritional value. But Guy Ritchie's lines are purely nagging for the sake of nagging, which makes his obscure gentlemanly humor seem awkward. In the film, Guy Richie has a scene of Quentin "admonishing" young people very similarly. Guy Ritchie's film only makes people remember the scene of the teenager falling through the window (after all, it is played twice in two ways), but Quentin is more likely to remember the serious nonsense, which is said to be not from the Bible, but is all improvised. For this reason, some people really went to the Bible to read the original words.
Houmai, "Claire's Knee"
And It is difficult to have such impressive dialogue in Guy Richie's works, at least Matthew McConaughey and the Asian villain's "law of the jungle" is not outstanding, because of his lack of research on the spread of the lines, and there is no portrayal of the character's heart, the character naturally does not come out of the stomach Some directors have not thought of it, take Jiang Wen's line: "You fucking tell me, what is a fucking surprise", In fact, the difference with the film lines in the previous example is that it does not have so deep meaning, but it has a strong spread, of course, three times in a row is the best effect, which belongs to the brainwashing of strong implantation.
Jiang Wen "Let the Bullets Fly"
Of course, there is also Liang Tian's impotent declaration in the "Year of The True Destiny":
Liang Tian: Cough, what do you say is the strength of being alive? You say go to work, it's boring. Don't go to work, don't... It's not exciting.
You say make an object, it's boring. It's not fun not to engage in objects.
You say, how can we be so boring about everything!
Jiang Wen: Don't you break the gap, what about my money, what are you doing?
Liang Tian: Money... What's the point of asking for money? But... Don't want money, it's not going to work.
Jiang Wen: Once you hit you, you will have the strength.
Liang Tian: You beat me up... Are you going to hit me... It didn't work either
Jiang Wen: Then let's beat you up!
Liang Tian: Oops! Big brother, big brother, don't punch me in the face, I'm still at work tomorrow!
Jiang Wen's "Year of Life"
A dialogue reflects the discomfort and confusion of the "backward youth" of that era for social change, not only deconstructing the ideas of the so-called "Beat Generation" young people, but also having a strong spread of dialogue, so that 30 years later, people still remember the "weak declaration".
Guy Rich, who is good at the middle of the game, is still handy today, but no matter how exquisite the lens and structure are, there is no way to make up for the lack of the inner core of the film, and it is impossible to eat the sky by relying on the technology of the external form, otherwise Ning Hao will not be able to copy "Two Big Smoking Guns" to shoot "Crazy Stone", if the problem of the connotation of the film is not solved, Guy Rich will always be just a little clever, not a big wisdom.