Task Force X: Full Assembled (US 2021, directed by James Gunn, starring Margot Robbie, Idris Elba, John Senna, Joel Kinnaman, stallone)
To be honest, as soon as this movie came up, it reminded me of the sensational Chinese "Garrison Death Squad" decades ago (it and "The Man from the Bottom of the Atlantic" can be regarded as the earliest "American drama" introduced by the mainland): this drama was originally released and stopped, and several times it was written by snowflake-like audiences asking to stop broadcasting, because it was only a kind and docile mainland audience, and it was really impossible to understand "why let a group of people who are so unhylike be heroes".
At that time, we didn't know that there was a technical term called "anti-type".
The "anti-genre" word is certainly not enough to summarize "X-Task Force", and R-rated films are its key words, or to be more extreme, called the crown of annual large-scale bad taste, which is probably worthy of it.
So, you can probably imagine how many tons of plasma the two hours of movie-watching experience were filled with tons of plasma, which were filled with human tissues with different angles, different postures, different organs, different species of chest-piercing, headshots, eight pieces, and two halves, full of split heads, broken tendons, chewed blood vessels, and wet answers glued together.
Obviously the task is rendered extremely difficult, life and death line, but before the cute devil who was nicknamed Pai Daxing by netizens appeared, the opponents were basically standing up for you to destroy the obstacle type tool people, so most of the time, the battle screen in the film was like the lateral movement in the early years of the red and white machine, cutting melons and cutting vegetables, blocking my death, simple, blind, and completely cool.
Of course, it still spares no effort to "anti-type":
The first group of teams gathered together, each with different abilities and full of personalities, thought that this was the protagonist Tiantuan, and did not think that they were collectively crushed and destroyed on the beach before walking the opening subtitles.
The girl you had painstakingly tried to rescue had already escaped on her own before you arrived, and then she was moved to tears by your arrival, and almost took the initiative to return to the cage and give you the opportunity to save it again.
The enemy and I fell in love, thinking that it was a romantic palace scheming of calculation and counter-calculation, but the end was to talk about life in front of the window, and shoot and kill without a word.
Entrusting you with the weapon that represents my spiritual conviction, the music is pushed to the climax of the side, waiting for more than 10,000 words of earnest instructions, who knows that it is too late to say the last words, and die in your dirty words.
The only demon that male number one can overcome is that he can finally barely touch a mouse.
Stallone actually played a humanoid shark.
To put it bluntly, everyone is being a rotten person with honor and righteousness, and all the bridge sections are sprinkling dog blood with honor and righteousness.
But there are still some things behind the scenes that are extremely frightening, no, they are all things that are placed on the surface together with dog blood, and even metaphors cannot be talked about, that is, without "careful thinking", directly "extremely afraid".
The mechanism of violence, populism, and authoritarianism. The monster is a beacon of democracy and a black-box deal between dictatorships and oligarchs. The starfish monster color scheme resembles the American flag. Superpowers come from the perverted experiments of the previous generation's ambitions. Messengers of Peace are most superstitious about the death of innocent people at the cost.
When humans are used as a breeding dish and medium for demons, towards the complete collective unconscious, the only creatures that can defeat them are the creatures that are more extremely extreme in the collective unconscious, such as rats.
That action of summoning a mouse, really, is too much like, Freedom Leads the People.
The injustice of the whole can only be lubricated and softened by the return of justice of a few individuals, but these individuals have also chosen to conceal the truth for their freedom.
Notice the final battle lineup of the suicide squad: blacks, whites, women, children, animals, the only ones killed were white people — such a cult film, and still does not forget the invulnerable political correctness.
Tough Guy Gun God (China 2021, directed by Hu Guohan and Zhou Siyao, starring Xue Wenjun, Li Qingyu and Tan Xiaofan)
With the yardstick of the net, it is a relatively brilliant production level. "Realistic presentation of the game scene" This kind of active opening of the dimensional wall is a double-edged sword that is cool and intriguing, and as far as this film is concerned, it can be seen that the degree of intention is. Moreover, the sensory simulation of the game's time and space does indeed give back to the visual spectacle of action gunfights that are becoming more and more difficult to play, and enlighten different possibilities.
Of course, the net university is still the net university after all, from the selection of materials to the narrative to the idea to the values, almost all of which are commonly used in the template:
Di Si Man's y in the virtual world and self-proof in the real world are a Jedi counterattack (there is also a self-proof anxiety of the whole industry that "playing games is not a lack of business and playthings, and e-sports is a spirit"), and it is necessary to come to the background of a father-son relationship - the "fallen man abandoned by his wife" in domestic movies has a fixed screen image, sloppy untrimmed face, disorganized rooms, non-profitable jobs, and then there is always a son who acts as the only soft underbelly and holds up the source of motivation for the last fight. Geng Hao in "Heart Flower Road Release", Chen Guilin in "The Piano of Steel", Tian Wenjun in "Dear", Cheng Yong in "I Am Not a Medicine God", and Xiao Han here.
Waste wood alliance team, there is always a funny fat man, a tall and cold man and a little beauty, I have not played games for many years, but I still remember when I was in college with my roommates to play CS, and read a novel called "Bounty Hunter", where there is also such a group of people.
The belief in competition is blatantly challenged by capital and unspoken rules, and it is caught in a dilemma, which is rooted in economic embarrassment.
"I have to win because I need that money" seems vulgar motives that are sometimes the most incendiary, from Jack London's Fist of Rage.
The caricature of the inspirational line, the MV of the emotional line.
But I have to admit that it is still smooth and comfortable to watch, after all, there is another commonly used saying, called effective.
Two more obvious problems, the first is teammates, the second is the opponent: teammates as the main supporting role, the fullness is poor, did not establish a convincing enough of the previous text, the personality also lacks a growth arc (that is, from the passerby king to a quasi-professional player who knows how to cooperate with tactics); the opponent has been making yin moves, playing cheating, so his matching degree with the male one in ability collapses, and the most burning peak confrontation between good and evil can't come out. In the end, it can only be interpreted as a counting contest that brushes people's heads.
Ip Man (Hong Kong, China 2008, directed by Ip Wai Sin, starring Donnie Yen, Ren Dahua, Xiong Dailin, Hiroyuki ChiUchi and Lin Jiadong).
Somehow I thought of revisiting this, probably tending to do something less brainy during the holidays, but inadvertently it seems to be in line with the recent nationalist sentiment on the Internet - it is also aimed at Japan.
Yes, re-watch this, you will better understand what Chinese netizens are brewing and fermenting (enjoying) in their hearts.
As I've written before, my attitude towards the Ip Man series has always been complicated.
On the one hand, I am naturally more disgusted with that kind of spiritual aphrodisiac thing: humiliation continues to superimpose and accumulate, the audience is constantly substituted into humiliation to form a continuous emotional depression, the strongest Chinese other than Ip Man tried to wash the snow humiliation but was defeated again, so he interpreted a new higher value of humiliation, emotional depression reached the breaking point, Ip Man appeared, the draw was slightly dominant, the wounded gradually fell, the opportunity was found and the Jedi counterattack was killed. Pressing the opponent to the ground with an expressionless hammer (Wing Chun's characteristic close-quarters combat technique is also particularly suitable for this kind of angry repeated beatings), and then the emotional release and humiliation (seemingly) are washed away.
This routine has been repeated four times in a row, especially the second and fourth times, which can be called the standard version of the manual of this routine.
This is the first time, it is to grope out the routine and then lay the routine, so it also has some less round and less greasy sense of jade, some more lifelike raw edges: the characters have a clearer growth curve, and the completion of several supporting roles is better; however, the psychological preparation is relatively insufficient, that is, the "humiliation of superposition and accumulation" mentioned earlier, which is more sloppy. So the last big climax, but also sloppy - Ip Man was quickly victorious after being punched twice, so the whole movie, although it traversed single-handed, one-to-many, group battles, indoors, outdoors, empty hands, and blades, was invariably crushed from beginning to end.
But on the other hand, I also want to admit that as the earliest Chinese kung fu film in recent years to achieve genre narrative work, the most enduring IP, the most mobilizing action scene, this routine is indeed very effective, very mature, at least very formed.
Moreover, it also explores (elevated) the genre value boundaries of kung fu films—where the highest meaning of martial arts lies—from protection to awakening the people, self-evidence of national strength, and inner benevolence and compassion. This is where Chinese action movies have been trying to run since Zhang Chehu Jinquan.
Chinese martial arts in the movie to this day, to face a lot of unsolvable situations, for example, martial arts this thing, in modern society, in the era of hot weapons, how many practical functions - "Ip Man" series from the first part, it is quite cunning to avoid this question, every ultimate opponent, always out of "unconvinced" or "despised", the competition will be set up as an open competition, so you die and live into the Olympics, the inequality between the two sides at other levels is erased, everything returns to the purest competition, The confusion of "if people shoot, how can you do any good kung fu" has no chance to cash in.