Let's talk about "Deep Sea", the following cannot be regarded as a film review, just subjective feelings.
The source of the evaluation is me and my mother, two "middle-aged and elderly audiences".
One, the lonely journey
The little girl who walked barefoot alone in the storm, the cold island on the cold street,
In the seabed journey, various magnificent colors such as golden yellow and deep indigo bloom and flutter outside the window;
It seems that she has a sense of "orphan of the beautiful world" (although she is not an orphan in the non-legal sense).
The more lively, noisy and magnificent the box here, the more lonely and helpless the red and black over there.
The middle and second sections of "Deep Sea" correspond to two narratives: one true and one false, one false and one real.
Similar to the classic structure used in "Pi's Fantasy Drifting", characters such as tiger, zebra and cook correspond one-to-one.
This is a common "fable" gameplay, using metaphors or metaphors to complete the presentation of taste; If the final "mystery" of "Youth Pi" lies in the loneliness of drifting thousands of miles, the lonely boat Hanhai and the cruelty of survival "killing", then the playing style of "Deep Sea" may be closer to another lonely and painful inner perspective.
On the other hand, "The Deep" can also be understood as a "secret place" story like "Spirited Away".
(One borrows the face of gods and Buddhas, and the other borrows the name of imagination)
Wandering into the depths of the ruins, there is the amber river who has forgotten his name, the gluttony and loneliness of the faceless; And looking back, everything seems to have never happened, quietly as if not waking up is just a dream.
(There is no meaning of comparing the quality of "Deep Sea" to the above films, just talking about the universal genre of "two different worlds")
Of course, "Deep Sea" and the above content are very different, and the final sudden truth falls on loneliness, help and redemption in loneliness.
In the dark night, the deep sea is stormy, the thunderstorm is gusting, the little girl drifts on the deep sea, and the boss who seems to be greasy and greedy for money stretches out a hand to her.
I hope that all depression and sorrow have an outlet, and there is a light that can embrace and warm.
The most powerful empathic cornerstone of "Deep Sea" may lie in the subjective feeling of loneliness and pain.
Betelgeuse kept looking for his mother, went to the Deep Sea Hotel, was chased in the name of "obscurity", and was once used again because he could see sea spirits (of course, the subsequent reversal is another matter).
From the point of view of advantages, "Deep Sea" has an ingenious counterpoint structure between two layers of story, a lonely scene of the Deep Sea Hotel, and a rich rendering of emotions after reversal.
However, all this also corresponds to some degree of deficiencies, and the degree of completion and substitution of the above content seems to be debatable.
The special effects of "Yang Jian" chasing the light next door are full, the scenes are amazing, the story is messy, and "Deep Sea" is also a short board in the story, but the polarized reputation of "Deep Sea" and "Yang Jian" are very different.
"Yang Jian" is too short for the bucket short board, and the long board and short board of "Deep Sea" are relatively relative, not so firm, and somewhat indescribable.
Second, personal preferences and expectations are misaligned
The receiving effect of "Deep Sea" is bound to be very individualized.
For example, the heroine is called Betelgeuse, and every time I hear this name, I feel weird and awkward (is it "moving like a participant quotient" means far?). ), but this name may be liked by many people and feel a feeling.
Another example is the voice of Nanhe's ultra-high decibel hanging, I feel noisy and tired when I hear it, but some people may like this "slippery and noisy reverse heart".
I personally like the sea otters in "Deep Sea", they are fluffy and chubby, very cute and cute; Although cuteness itself is already very combative, but when it stops at "cute" (and a little warmth), the real effective impact may also be limited.
After watching "Jiang Ziya" a few years ago, the most amazing thing about the whole film was "Deep Sea" at the end of the film.
In just a few frames, the colors are as beautiful as clouds and streamers, which really illuminates the entire cinema.
Since then, "Deep Sea" has finally moved, and it seems that it has not been on the National Day file due to some non-film reasons, and now it has opened a screening before the tragic Spring Festival file, and has encountered two poles of word-of-mouth "some people burst into crying and some people have no feelings".
Personal perception, first of all, is a slight misalignment of visual expectations.
Before watching The Deep, my expectation (in case of spoilers) was that regardless of the text of the story, the visuals would be super stunning.
The previous trailers and posters are very eye-catching.
But after entering the feature film, I found that a lot of content is more colorful and fuller, which is a bit too much.
Those gorgeous and intense but not conflicting, rich and just the right magnificent pictures do not seem to account for enough in the main film.
After entering the Deep Sea Hotel, a group of ugly fish made me accept the difficulties.
(Does the film side also think that the fish are ugly?) I looked around and couldn't find the positive face stills of the big ugly fish)
If the colorful in the trailer is a positive word, the "colorful color" in the feature film may have a different look and feel.
The former is just right and vibrant, the latter is too late, slimy and greasy mixed together.
If it is a cyberpunk style, it is not accurate, it is a simulation of the dirty and greasy texture of the old food stall in the old market, and it may not be appropriate, in short, I did not expect that the most dissatisfied point of "Deep Sea" would be "ugly" (some scenes and characters).
Much of the first half is that Nam River wants to use Betelgeuse as a way to make money and serve his diners.
The bizarre restaurants, the variety of strange ugly fish, and the frequent spittoons are not very visual friendly to me personally.
If it is strange, this section of the Deep Sea Hotel seems to have failed to really pry the fantasy imagination, showing Wang Yang's unbridled creativity.
Strange and strange, chaotic and not new.
Of course, this can also be understood, so many characters in the movie are beautiful, ugly and cute, and they don't have to look good (not to mention that ugly fish may be particularly good for others); Different stages and different plots require different scenes, and it is normal to have different painting styles and textures.
Third, survival downstream of the cruel schedule
The film has many advantages, but it has its own limitations, external restrictions, many links affect the play, appeared in the tragic Spring Festival file, can be regarded as brave?
Spring Festival films, "The Wandering Earth 2" is the most hardcore and industrial-level commercial blockbuster in recent years, "Manjiang Hong" may be very capable of playing in the sinking market, and "Nameless" is suitable for director Cheng Er's fans with a tone.
"Exchange Life" is comedy + family affection (sensational?) ), the last table tennis is a passionate sports route, no matter what the presentation effect, the style path is clear, the audience is clear.
I know that many people will like "The Deep", but I personally can't exactly imagine which group likes it, or which people who fit the characteristics like it.
It's even hard to find a film that can benchmark (for example, I would recommend people who like "The Demise of Romance" to watch "Nameless", and it must be right for fans of Broken Ball 1 to watch Broken Ball 2), but the people who shouted for "The Return of the Great Saint" may not still be willing to pay for "The Deep".
The Spring Festival stall may not be winner-take-all, but the laggards who do not have the advantage must face the cruelest "remaining alternatives".
The five colors of the trailer of "Deep Sea" are dazzling, and I definitely want to see the IMAX version, but the IMAX halls of most theaters along the way must be lined up.
(There is no intention to accuse the broken ball of unfair competition), if I were the theater manager, I would definitely line up the broken ball.
Visual effects are key to the overall effect of "Deep Sea", and "Deep Sea" appears in the fierce competition of the Spring Festival file, frontal hard blockbuster, and the possibility of getting the best big screen is very small.
The advantage of one and two leading is obvious, and it is still suspense who is the real champion in the end, but it is bound to be one of the two of the two, for films such as "Deep Sea", the proportion of films may not be optimistic.
At the same time, this means that their share of time is less golden (morning, meal, late night), and the arranged theater may be smaller and more limited in effect (the one we are watching is a very small hall, and the last row is very close to the stereo, which is really deafening).
This is a hard cycle that is difficult to break: poor box office performance makes it difficult to divide more theaters and time slots with better rankings, which in turn affects the viewing experience and is involved in the next negative cycle.
I personally am not impressed by "Deep Sea", and I don't think that the original first choice of "Deep Sea" is to harden the Spring Festival file, and I know very well that the nonsense I said about the schedule is useless, but I still hope that movies of different paths such as "Deep Sea" can be profitable and can get better and better.