"All or Nothing" controversy "five most", a box office hit that is not worthy of the position?

Film Review丨Issue 5丨Reasonable Movie, Exclusive Film Review

Text/Gongmu

• 1

  Controversy has been with the film, though it failed to shake its box office miracle. It is regarded as a victory of opportunism, stepping on the dividends of the theme and poking at the communication points of the sinking market, but its high box office is not proportional to the quality.

• 2

  A successful anti-fraud propaganda film, a failed "escape" movie, this is the most fragmented controversy in the film.

• 3

  Cunning scam bosses, ruthless thugs, Kochi programmers who are deceived into not wanting to join the gang, gold diggers who voluntarily enter the game for money, college students who become gamblers... Exhaustive but full of typical symbols, none of the characters have enough three-dimensional portrayals, which also makes it difficult for the audience to establish sympathy or even empathy for them.

• 4

  The film's portrayal of the character of Wang Chuanjun is a counterexample, too intoxicated with the showy skills of the part that surfaced and complacent, but unable to let the audience get a glimpse of the complete iceberg.

• 5

  The film uses the mouth of the anti-fraud police Yongmei to point out that people have two hearts: greed and unwillingness, and the director himself emphasizes that these groups of characters correspond to different human weaknesses, and calls this the motif of his creation. But if you only blame people's hearts for all problems, you will inevitably lose your sight.

• 6

  It has played the short video platform well, clearly touched the preferences of the sinking market, and concocted explosive models with title parties, curious slices, etc., to "trick" the audience into the theater.

• 7

  Although we can't simply blame "All or Nothing" for the problem of the blockbuster movie formula, it has achieved success in the market despite poor quality, which will be a strong encouragement for speculators in the industry.

In 2018, Wen Muye launched the word-of-mouth box office double explosion "I Am Not the God of Medicine", originally in the advertising circle, is still working for the feature film debut of the Olympic bid suddenly felt the pressure, as if he suddenly became a poor student, and Wen Muye is the same as Ning Hao's "Bad Monkey 72 Change Film Project" support object, he anxiously said to his friends: ""Medicine God" is 3 billion, what should we do? ”

The director of "All or Nothing" bid for the Olympic Games

Shen Ao handed the script of his debut novel "Beneficiary" about the murder of his wife and defrauding the insurance case to Wang Chuanjun, who played Lu Huihui in "Medicine God", and Wang Chuanjun read it again and said to him, "It's not interesting", just refused, and asked him to go to the balcony to peel garlic and think again. "Beneficiary" did not "succeed" in the end, with a Douban score of 6.5 and a box office of 200 million.

Then came "All or Nothing", and this time, the Olympic bid finally survived. After filming "All or Nothing", which has not been released for two years, it accidentally rushed this year on the fraud news in northern Myanmar and the legend of the Kawaistin in Southeast Asia, and Wang Chuanjun also changed from a leukemia patient in the medicine god to a gloomy fraud leader in northern Myanmar, and burned the movie in advance on the short video platform.

But controversy has been with the film, although it failed to shake its box office miracle - if there is no accident, it will "beat" "I Am Not the God of Medicine" with a box office of more than 3.5 billion, the difference is that the latter has a Douban score of 9.0, while "All or Nothing" is about to fall below 7 points. It is regarded as a victory of opportunism, stepping on the dividends of the theme and poking at the communication points of the sinking market, but its high box office is not proportional to the quality.

"All or Nothing" was originally called "Fishing Action", and the marketing slogan was sensational

In terms of content, it has turned itself into a legal propaganda film, with a crotch-pulling play, empty characters, a collapsed logic, and an absurd ending. In terms of publicity, it was accused of fraudulent propaganda, large-scale screenings, and it was also complained of not talking about martial virtue. And the aftermath of the blockbuster movie formula it buried has also caused concern in the industry. We carefully reviewed several major controversies in the film, and see why this thick-eyed positive energy anti-fraud propaganda film went to the opposite side of anti-fraud?

Dispute 1: Quality crotch? The film was made into a legal propaganda film, the characters were empty, and all the tools who could empathize

A successful anti-fraud propaganda film, a failed "escape" movie, this is the most fragmented controversy in the film.

Perhaps in the face of the "anti-fraud" propaganda task, in order to show the complete fraud industry chain, the film is structurally decomposed into three sections of "fraud-deceived-solved", each of which has a different protagonist. This leads to structural imbalance in the film, fragmentation in the viewpoint, and sloppy scrawling in the portrayal of group portraits. The interaction between the three parts is purely in the service of the plot, and there is a lack of emotional flow between the characters, and the character portrayal and plot development of each part are limited to the length and cannot be fully stretched.

Kochi programmer Pan Sheng, played by Zhang Yixing, is forced to participate in fraud

The first section shows the horror truth of fraud factories through Pan Sheng's perspective, how they "recruit" and bully employees, and implement fraud with a division of labor in thousands of doors, violence, soft pornography, money and other spectacle scenes are displayed to a certain extent under the coat of anti-fraud, which not only undertakes the function of anti-fraud propaganda but also loses the sense of cinema.

Ah Tian, played by Wang Continent, was deceived into becoming a gambler

The second section shows how Ah Tian was tricked into becoming a gambler and finally committed suicide, this part is more "life-like" as a whole, as if a story was selected from a legal program to be put on the screen, the only more dramatic place is that Ah Tian was pulled by a debt collector to donate blood three times, but the audience has already witnessed it in advance in this year's hit drama "Crazy".

The third section shows the process of solving the case by the police, which is the part that most attracts the audience to complain about the legal propaganda film, and the whole process is full of incredible logical loopholes. One of the most dramatic and conflicting scenes: the Chinese police being besieged by local mobs in Myanmar, is inevitably reminiscent of similar scenes in works such as "Police Honor" and "Blind Mountain".

"Police Honor" villagers shielded criminals and surrounded the police

"Blind Mountain" also has the same plot

According to the conventional film logic, if the protagonists are limited to Pan Sheng and Anna, let the characters fully unfold, the audience follows their point of view, immerses themselves in the whole process of "entering the game - dilemma - breaking the game" of the fraud factory, and has a strong empathy for them, this film is qualified, but unfortunately the director played a more fancy structure and finally played half a "legal propaganda film", which also led to a complete failure in the shaping of group portraits: cunning fraud bosses, ruthless thugs, Kochi programmers who were tricked into not wanting to join the gang, Gold diggers who voluntarily enter the game for money, college students who become gamblers... Exhaustive but full of typical symbols, none of the characters have enough three-dimensional portrayals, which also makes it difficult for the audience to establish sympathy or even empathy for them.

The fraud leader played by Wang Chuanjun

The scam leader played by Wang Chuanjun is the most prominent character, with vulture-like eyes, oily back comb and gold wire glasses, sanctimonious temperament, loose gait, light and breezy but verbal style, the contrast between being kind on the surface but cruel inside... Triggered crazy pursuit on short video platforms, but what has this character experienced, why can he climb to this position, where does his knowledge of the whole chain of fraud come from, how is his local network established, what is his family relationship, is his desire for Anna just a whim, does he have any other interests besides money? All owed.

Recall Gao Qiqiang in "Crazy", why the audience is so empathetic to a villain, because we see him from a bullied bottom fishmonger "salted fish turned over" into a gangster boss, if Wang Chuanjun's role can bring out more history and details, this character will be richer and three-dimensional and thought-provoking. Hemingway's iceberg theory has been borrowed from many filmmaking tutorials: "If a writer knows what he wants to write, then he can omit what he knows, and the reader will feel strongly that what he omits is as if the author has already written it." The iceberg moving in the sea is majestic and majestic, and this is because only one-eighth of it is exposed above the water. "The film's portrayal of the character of Wang Chuanjun is a counterexample, which is too obsessed with the showmanship of the part that surfaced and is complacent, but cannot let the audience get a glimpse of the complete iceberg.

There is also a problem with Wang Chuanjun's role, although the script designed "two faces" for him, but this sense of contrast did not play an extreme role, and many ingenious designs were tasted.

For example, in the short video platform triggered a wave of imitation of the Buddha worship scene, Wang Chuanjun turned around and began to worship Guanyin while making a ruthless action of wiping his neck, the meaning of "human face and beast heart" is about to come out, but the movie lens dragonfly is a little water, the director did not mobilize enough audiovisual language to create enough atmosphere, turning a highlight moment into a mediocre cutscene, wasting a good detail design, the audience said after watching the water is better than watching short videos; For example, Wang Chuanjun took his daughter's hand and saw the ambiguity between Pan Sheng and Anna, imagine if Norman in "This Killer Is Not Too Cold", Liu Yaren in "Old Hand", Shen Dongliang in "Long Season" and others possessed Wang Chuanjun at this moment, whether Pan Sheng Anna or the audience, there should be a shuddering feeling: Will he retaliate against this? How would he torture these two? He is a perverted means, right? But we didn't have such worries in watching the movie, this is the failure of character shaping, his body obviously lacks a trace of crazy perverted bloody atmosphere, but the director and actors always seem to show the audience a self-righteous greasy uncle-like smile: How is it, are you afraid?

Compared with Manager Lu played by Wang Chuanjun, the other roles in the film are more flat.

Ah Cai made such a decisive action for the plot as releasing Anna, but there is a serious lack of psychological motivation support, the director explained that Ah Cai had empathy for Anna because he also climbed from the victim to the position of the perpetrator, which is even more confusing, because there is no foreshadowing in the film, this explanation is not as convincing as "Love Brain", but there have been several details before showing his warmth to Anna, although the foreshadowing is far from enough. The director is complacent about the scar on the neck designed for Ah Cai, wishful thinking to make the audience's brain make up for Ah Cai was once a victim, but as the second-in-command, isn't his scar more like the "battle medal" left by his hundreds of battles and fierce fights on the streets?

And how did Ah Tian go from a mentally healthy college student to a "top" gambler who can gamble and lose nearly 10 million yuan in a short period of time, and can make such an extreme dramatic change, his heart, his character, and his environment must be outstanding? But the gambling process and character status shown in the film, you can't even tell how it is different from the Internet addict teenager who is addicted to mobile games.

Pan Sheng's family is invisible and removed from emotional bonds; Anna's mother only appears at the last moment and also does not participate in the narrative, which is an element that could have increased everyone's empathy for the trapped person. Whose children and whose fathers are the victims who have been beaten to the point of blurring their flesh and blood and cannot return home? Do they have to go overseas to dig for money, are they only deceived for personal reasons? Are there deeper social issues behind the characters that need to be revealed? The film uses the mouth of the anti-fraud police Yongmei to point out that people have two hearts: greed and unwillingness, and the director himself emphasizes that these groups of characters correspond to different human weaknesses, and calls this the motif of his creation. But if you only blame people's hearts for all problems, you will inevitably lose your sight.

Dispute 2: The ending is absurd? Heavenly Descent Divine Soldiers are not played like this

The film is based on some self-evident reality factors, and a successful rescue must be completed.

"Glorious Fury" arranges "divine soldiers from the sky" in a visual sense

Cao Baoping made a wonderful demonstration as early as 2006 in "Glorious Fury", when the villagers' attempt to overthrow the "village tyrant gang of four" was about to fail, Cao Baoping arranged a visual sense of "heavenly divine soldier", dressed in civilian clothes disguise fell from the roof with the tiles in front of everyone, and then got up embarrassed to reveal his identity, and completed the arrest operation in the eyes of everyone's incredulousness.

In "All or Nothing", the villain Ah Cai inexplicably let Anna go, and the small card printed with Anna happened to be delivered to Yongmei's car, Anna met the police who were waiting for the rabbit when she arrived home after a lot of hardships, and the Chinese police received a clue from Pan Sheng when Myanmar was about to retreat, and when it was besieged by the Burmese mob, a Chinese chamber of commerce president appeared without warning... Countless almost impossible coincidences kept coming together, as if Sun Wukong had moved Guanyin Bodhisattva to heaven, and a mage with boundless mana began to practice in the decent team... All kinds of twists, you sing and I appear, and I feed the ending to the audience's mouth, but it is difficult to swallow.

The director claimed that this design was to avoid exposing the details of the police solving the case, and if it is true, it further shows that this line has no room for play and should be greatly deleted, and replaced by the process of escaping from the inside from Pan Sheng's perspective described above.

"I Am Not the God of Medicine" plays a police officer on Monday

How to make a good movie under the existing conditions is the common choice of all Chinese filmmakers who are treated equally, and "I Am Not the God of Medicine", which is also the new director's work of "Bad Monkey", cleverly avoids the minefield when the subject matter is more sensitive, so that the police played by Zhou Wei choose to stand with the people to some extent, and partially transfer the spearhead of leukemia patients who cannot take medicine and cannot be treated to the so-called cold-blooded drug manufacturers, and put the gratifying positive energy policy changes as "divine weapons" in the end credits. If "Medicine God" also places the story perspective in the relevant departments like "All or Nothing", it will undoubtedly become a news propaganda film. "All or Nothing" has to flash around where you can't use your skills, and naturally you have to plant your head.

In "All or Nothing", Yongmei plays a police officer

However, the line of police solving the case is not without connotation, it makes people smell another weird atmosphere that slightly contradicts the mainstream narrative. Yongmei, who plays a policewoman, is full of coldness regardless of her pale facial shape, expression, tone and temperament, and the director and actors can choose a more tender way to shape the character, but they don't. The director explained it as a calm and calm, but in the many shots deliberately given by the director full of victim gaze, we can clearly feel that it is an indescribable "cold". In the face of asking for help, "you go back and wait for news" and "still under judgment", some memories flooded into their hearts, allowing many viewers to hook up some similar experiences in reality; When Zhou also told Yongmei that "he committed suicide", the camera gave Zhou Ye's tearful gaze and resentful face a close-up for a long time, at this time the audience unexpectedly empathized with her, without a word of question, but the audience had already made up lines for her brain in her brain; The voiceover "A little happier" when the anti-fraud lecture took a group photo, so harsh and sarcastic, the camera brutally tracked Yongmei's facial expression as if she was forcing questions on behalf of the audience, and at that moment we waited for her to lower her head...

All of this constitutes a kind of secret expression of the director, and these details form a tearing reverse effect with the ending of Wei Guangzheng at the end, in this sense, how absurd and unconvincing the plot of the rescue behind is, how big is the question mark in the director's own mind as the creator, and this is also a question mark for the audience.

While he used the camera and lines to implicitly question a certain possibility, while using absurd plot twists to achieve this unconvincing rescue, and in fact, in reality, the group represented by Yongmei has put a lot of energy into counter-fraud, and more people represented by Zhou Ye are looking forward to a wolf attack Although it is far from going to smash the Yellow Dragon style to level the pain and refreshment of northern Myanmar, the film fills this imagination for us in a magical and outrageous way, and also exposes the real dilemma of reality from the opposite side, which is like an anti-reality mirror image, A cautionary parable: You can't escape that hell unless a miracle comes down from heaven.

So, is this a self-defeating rebellion by the author, a deliberate self-exposure? Combined with the level presented by the director of the whole film, I think this is a beautiful misunderstanding that the creators themselves are afraid of, maybe it's just a physical deformation and sloppy dancing.

Dispute 3: Scam marketing? Extremely curious, "Wang Chuanjun" goods are not right

When the film side continued to promote "one more person watching a movie and one less person being deceived", some viewers who had seen the film shouted the slogan of "one less person watching a movie and one less person deceived"-for-tat.

It has played the short video platform well, clearly touched the preferences of the sinking market, and concocted explosive models with title parties, curious slices, etc., to "trick" the audience into the theater.

Scams in northern Myanmar have long been circulating on short video platforms, where the code of human nature is hidden, and people are comfortably enjoying the consumer goods of these tyrannical spectacles under the moral cloak of concern for their fellow citizens. Among them, violent, abusive, pornographic content elements, mixed with foreign mystery, voyeuristic presence, sense of dissociative security, lucky superiority and other emotions, they are all bestsellers in the sinking market.

When fragmentary, simple, one-sided documentary images were no longer satisfied, "All or Nothing" appeared. Turn them into materials on the board, purify and cook, and the short promotional videos that explode in movie trailers show all kinds of visual spectacles: money in the square, fraud demonstrations, violent abuse... When the audience thinks that this is just a starter, entering the theater to try to see more deep-seated things, but find that the movie only stays in the spectacle display, and the depth of characters, story logic, narrative rhythm, and even if it is just a sense of immersion substitution, as a film art should have, are all lacking, and even in the fixed lens technique deliberately separated by the director, even the spectacle has been discounted.

No filmmaker official number plays with the title more than "All or Nothing". Self-media explosive formula titles such as "What happened to make a beautiful girl like this" and "I don't know he is such a person without seeing it in the end" have killed all sides in the sinking market. The scam leader took the newcomer to visit the factory became "a company's private recruitment video leaked", Pan Sheng was deceived by Ah Cai to Myanmar and became "invited by a good brother to go abroad for group building but fell into his trap", excuse me, are we watching the same movie?

The marketing of the film side also created a "beautiful misunderstanding" for Wang Chuanjun and the audience.

It turns out that this character, who has the most performance tension and projects the ultimate fantasy of sinking market users about money and power, is not an absolute protagonist in the main film.

As early as a few months ago, when the traffic data verified the popularity of this character, the film side cleverly adjusted its strategy, focusing on marketing "crazy villains", and successively concocted a number of popular videos: Wang Chuanjun worships Buddha, throws money, PUA speeches and other popularity is quite high, and hot search terms "Wang Chuanjun scam leader is not like acting advice check" and so on. The audience rushed to the theater to see the villain's performance style for another "crazy high qiqiang", but found that he was only one of the group portraits, the scenes were not even as many as Wang Continent, the depth of the characters was far from enough, and the explosive scenes did not catch people's attention in the short video.

Wang Chuanjun is part of the hot search terms

The marketing of Wang Chuanjun made the audience establish psychological expectations, but in the end it was not satisfied in the theater, although we cannot assert that the film side used false publicity - after all, Wang Chuanjun is only four times in the official copy, but the psychological feeling of "the goods are not right" is real, which also led to the first day of the film's screening "Wang Chuanjun Scene" was arched on the second hot search. The audience is no stranger to this feeling of being deceived, and "More than Endless" has also caused controversy due to the marketing of Zhang Songwen, who has just exploded. Of course, compared to the habitual twist of "pseudo-protagonist" fraudulent marketing, "All or Nothing" is far from so bad, so "Super Family" deserves to be fully overturned, and "All Wanted" is still strong.

"All or Nothing" has countless cool points that can be used as short video marketing materials, but feature films test the director's level more. You think that when you enter the theater, it will serve you a Michelin meal, but it turns out to be convenience store fast food, the material is still those materials, which can still play the role of anti-fraud propaganda, but you can't help but ask, why do I spend money and two hours to watch an anti-fraud newsreel? Interestingly, the stimulation of short videos to users' coolness also forms a kind of backlash - they will have more difficulty tolerating the normal rhythm of feature films than ever before.

Dispute 4: Don't talk about martial virtue? "Promotion" point screening turns win-win into involvement

Screening "ancient and existing", what is the crime of "All or Nothing"?

For high-quality films, it is a long-term fermentation of word of mouth, paving the way for the official release of the film, and it is also conducive to testing the market reaction in advance and adjusting the publicity strategy at any time. Most of the films in this summer's file follow the traditional "rules" of point screening, through restrictions on screening time, screening city, theater type, etc., the point screening is framed in a small range, such as the point screening of Feng Shen is limited to special effects halls such as IMAX and CINITY to highlight the publicity points of "special effects blockbusters", and "Chang'an 30,000 Li" was only screened in 342 cities for one day and the time range was limited to 15-19 o'clock.

"All or Nothing" broke the box office record in Chinese film history

And the initiator of the screening began to change in flavor is actually "In the Octagon Cage", which opens half a month in advance, 3 rounds of 10 days, and the days from July 3 to July 5 are even "all-weather" unlimited time "pseudo-point screenings", which is no different from the promotion of files, compared to "All or Nothing". At least the latter is limited to 14:00-21:00, and the proportion of daily screenings of "Octagon" reaches 13%-21%, which is comparable to "All or Nothing". Why didn't "In the Octagon" encounter such strong criticism as "All or Nothing"? Because its head has been pressing the mountain of "Disappearing Her", the latter's single-day box office is overwhelming, making "In the Octagon" look like a hyena stealing food scraps from the lion's mouth every day, and finally muffled a fortune to grab up to 400 million point screening box office.

"All or Nothing" is scheduled

And "Desperate" is different, it is destined to stand in the spotlight from the beginning: just opened the painting to pick off "Megalodon" on the second day of release, and beat "Feng Shen", which has been released for half a month with a high reputation competition, and continues to dominate the single-day box office champion, which naturally caused an uproar, especially when it encountered the fierce attack of the "Feng Shen tap water".

Although many people in the industry have voiced the "clarification" of the filmmaker, the number of films is not determined by the filmmaker, it depends on the theater's judgment of the market. Indeed, theaters are optimistic that the film can sell well, and the feedback of attendance, box office, and word of mouth will prompt them to dynamically adjust the schedule of films on the second day, so we see that the schedule of "All or Nothing" has increased from 15% to 21% and then to 24% in three days, which can be said to be the result of the audience's vote.

In response to the so-called point screening period during the Douban platform will not open scores, resulting in the real word of mouth can not be spread, but also proved to be unfounded, Douban quickly clarified: as long as it meets enough credible rating numbers and a stable scoring trend, it will open scores, which has little to do with the point screening or whether it is released or not.

In this way, is the promotion of "All or Nothing" really reasonable, is it everyone misunderstood or harshly criticized the film party? I think there is still some room for debate:

Originally, everyone realized each other's "off-peak travel" through the official announcement of the fixed file, after all, each fixed decision is well thought out, but you secretly go out in advance, play cut-off, grab customers, add stuffing... It is impossible to prevent, even if it is not unfair competition, but it is somewhat unethical and does not abide by the rules.

Although the best result after the Spring Festival file of 500 million in a single day shows that it has brought a lot of increment to the market that day, as long as the film is finally released, the increment will not run there, but the large-scale early screening will definitely compete with other films for stock, and catch people by surprise, originally the wrong peak can be a win-win, now it has become an involution.

In addition, the so-called point screening box office broke the film history record, but also suspected of false propaganda, after all, you take the box office of nearly 100,000 performances per day to compare the results of the previous small-scale screenings, does it make sense? It can only be said that in terms of the screening results, it did win "In the Octagon Cage", which also does not talk about martial virtue, and it is a pity that these two are not fighting.

Dispute 5: Endless troubles? "Blockbuster formula" movies or get together

With the successive explosions of "Disappearing Her" and "Desperate", a new formula for concocting movie blockbusters came into being: high-heat reality hot adaptations (North Myanmar scam / Southeast Asian Kawaist legend / Thai pregnant woman falling off a cliff, etc.) + emotional resonance of social focus issues (anti-fraud / class / marriage fear / scumbag / feminist / ethnicity, etc.) + overseas criminal background and wonders (Southeast Asia, etc.) + short video marketing in the sinking market.

"All or Nothing" executive producer Ning Hao

Chen Sicheng and Ning Hao have become golden signboards in this regard. The former directed the "Detective Chinatown" series and supervised the production of the "Manslaughter" series and "Disappearing Her", "Disappearing Her" further varied, based on Chen Sicheng's original Southeast Asian crime + IP adaptation/remake, filling in the explosive formula with two major factors of "reality hot spot" and "social sentiment".

The latter with the "Bad Monkey 72 Change Film Project" won "I am not the God of Medicine", "All or Nothing", etc., although "God of Medicine" is by no means a formula movie, but it injected the bad monkey with the important gene of "realistic theme". The previous Olympic bid debut "Beneficiary" about the murder of his wife and insurance fraud case did not achieve much success, but in "All or Nothing", the popular fraud theme in northern Myanmar, the joining of medicine god actor Wang Chuanjun, short video sinking marketing, etc., finally let him soar into the sky and taste the taste of success.

This kind of formulaic film is worth being wary of, it may cause a creative boom in the industry, bringing a series of problems:

Low quality. "Desperate Bet" was filmed two years ago, and now it coincidentally stepped on the popularity of this year's Southeast Asian Kazi and Northern Myanmar Fraud Park Record, which also alerts creators in the industry, can you really catch up with the current hot spots, and are the future hot spots predictable, after all, hot spots are changing at any time, in turn, in order to catch up with the last train of popularity, will the creators shorten the production cycle or even make it shoddy, making years of grinding a sword a joke?

Intellectualization. The real hot spots that can really be brought to the screen in the existing environment are not unlimited, and the space for expression is actually limited. What's more, these films will try to capture and cater to the general mood of the public, from gender antagonism to class crossing, from national superiority to fear of marriage and childbirth, in order to maximize commercial interests, it will naturally not challenge the public's inherent cognition, but will only further strengthen social prejudices.

Poster of marketing results before the release of the film

Homogenization. Shoot the same theme in a bunch, shoot a Southeast Asian background, shoot a crime genre, engage in tyrannical spectacle... The upcoming "The Eighth Suspect" has begun marketing Myanmar elements while it is hot.

Deceptive. The most curious and marginalized slices for short video marketing, seize the hot spots to cater to the sinking market explosion, and trick the audience into the theater, as for whether the film is genuine, then you can only wave your hand and say: "It's not that we are bad, but that they are greedy (stupid)."

Although we can't simply blame "All or Nothing" for the problem of the blockbuster movie formula, it has achieved success in the market despite poor quality, which will be a strong encouragement for speculators in the industry. I hope that the above drawbacks are just our unfounded worries, after all, the market is so large, there should be a certain space for accommodation, but the self-regulation of the market and the awakening of the audience are always belated.