"Kill the Wolf 2": You can really fight in the suit - "Kill the Wolf 2" movie review

I remember it was 2004, when I watched Boxer for the first time. At that time, I was stunned and fascinated by Tony Ja, and I couldn't imagine that one day I would be able to watch the movie starring him in the theater, and it was also a Hong Kong-made strange film. Strange film - when "Kill the Wolf" was released in 2005, the Hong Kong media evaluated it in this way. Personally, I feel that "Kill the Wolf 2" is even more bizarre. Where is the oddity? The two protagonists, the language barrier, in addition to a few words through a translation software, the whole text relies on eye contact and action communication, and can actually distinguish black and white enemies and friends from the heavy conspiracies, form an alliance, and join hands to resist the enemy tacit understanding to drop the slag, which is really magical. The handling of the film is very credible, it will not give people a sense of far-fetchedness, but it is very old-fashioned Hong Kong films - between real men, whether they are enemies or friends, good or evil, are often a matter of one glance.

Some friends said that this "Kill the Wolf 2" makes the dragon set that died in the first episode as the protagonist, which belongs to hanging sheep's head and selling dog meat. It is undeniable that the plot of the two films is not related, and there is indeed a suspicion of borrowing the signature of the previous work, but in the style of the play, there are also many places in the same vein, and the bloodline of the sequel cannot be simply denied. The first half of the narrative of "Kill the Wolf 2" is intended to establish the cause and effect of the story, rushing to the scene of a wave of characters, constantly combing the relationship, fighting evenly to the end, the second half of the martial arts, the characters are in place, good and evil are clear, the hand-to-hand combat is surging and losing both sides HP; the first half is realistic, the gun battle is a shot and a hole, the gun is splashed with blood, the second half is freehand, the gun is only mars everywhere, and it can't hurt people, and finally it depends on fists and feet; the first half of the logic is strict, the context is complete, and the second half takes the jianghu film route. For example, Wu Jing traced gu Tianle's old lair, and only took a few strokes, just to kill a quick revenge... Whether it is the narrative context or the style change, it comes from the idea of the first part. The rest of the nameless killers who do not say a word single-handedly hang a large number of policemen, the single-handed throwing of the stick to the dagger, the single knife Ren Dahua who went to the meeting was abused into a bloody man, and the choice between the prison guard Tony Jay between private affairs and morality, all of which are like a tribute to the first episode, which is very kind.

Many fight scenes, there was always a breath of air that was not enough to let go, until the end of Wu Jing Toni Jia joined hands with PK Zhang Jin, only to "go to the end" at one time. The film gives an early analysis of strength, Tony Jia and Wu Jing's first confrontation, as well as the fight in prison, are hard bridges and hard horses, slightly awkward, and from time to time they are hit by the fists and feet of the dragon set. And Zhang Jin's debut skill is to wipe away the traces of Wei Ya to get rid of the gravity volley kick, that is, the transfiguration of the displacement of the dry piece of the enemy, that is, the wind of the general who fished away a little girl in the army, after playing the suit and leather shoes are not chaotic, one of the looks is comparable to a wax figure, from head to toe is purely the posture of the top master, plus he is well-groomed, the two opponents have gone through a series of vicious battles, and the four-fisted enemy is not only his hands, but it is quite reasonable.

There are prison melee, and there are two picks and one master competition, no wonder it is constantly compared with the two "Raids". The two series are two different action styles, Muay Thai and traditional Chinese kung fu open and close are larger, the performance of the human body limit is also more abundant, not as emphasised as CQC, "Kill the Wolf 2" posture stretch fighting is more ornamental, and "Raid" is more known for the psychological advantage of creating a dangerous situation. I remember that when the foreign media commented on "Raid", there was a sentence "(Played so really) It is difficult to imagine how the dragon set survived", which also applies to this film, such as Zhang Jinfei kicking Tony Jia's chin, which really makes people inhale cold air. Zhang Jin Wugong is higher than the two combined forces, defeated by arrogance, but also from the beginning there is a foreshadowing, the plot into the action, reflecting the creator's meticulousness of the art. It is very interesting that Zhang Jin made the bagua palm of "A Generation of Grandmasters", which made me constantly make up for his bearded style. The only regret is that Lu Huiguang's role did not have a big fight, and he saw his name in the "planning" column at the beginning of the film, and he was old, and their generation of martial arts should gradually retreat behind the scenes.

Speaking of which, to interject a few digressions, we often say that movies are shocking audiovisual, not that the larger the scenes in Hollywood comics, the more "shocking". Computer special effects are everywhere, the audience knows that the screen wonders are fake, sometimes even obviously filmed, we also gave credit to the computer, anyway, the special effects can be omnipotent, no matter how spectacular it is not too unusual. At such a psychological critical point, it is the long shot of several minutes of prison melee in "Kill the Wolf 2", without a hint of intention to show off special effects, far better than the "shock" given by the big scene of the end of the world. No matter how dazzling the picture is, the audience is always most concerned about the fate of the protagonist. Chinese films should confront foreign high-tech, adhere to the idea of kung fu films is correct, and it is the end of the universe to follow the cat and draw the tiger to engage in superpowers and outer space themes.

As a friendly reminder, "Kill the Wolf 2" is not suitable for audiences who reject horror movies, especially those who cover their faces at the sight of plasma. For many viewers, Zheng Baorui's most famous should be the "billion director" identity of "Big Trouble in the Heavenly Palace", but Hong Kong film fans may remember his "Big Head Monster Baby", "Dog Bites Dog" and "Army Chicken" (plus "Kill the Wolf 2", I decided to give him a nickname called "Animal Director"), and be mentally prepared for his ability to sprinkle blood plasma. Director Zheng is also not confused: Ren Dahuali pierced his heart and crushed his hand bones, Wu Jing steel bars self-harmed, Tony Jia was tragically hanged (really hanging), almost split, hundreds of people in prisons fought, dragon set police were amputated fingers... The shocking scenes and the sudden explosion of gunfire in the hospital are enough to be frightening. It is said that the Hong Kong version is still abridged, but this scale can pass the review, and the church massacre of "Ace Agent" was deleted.

After reading it, I felt the most deeply, or the spirit of struggle of the grassroots class in Hong Kong, afraid that no matter how much suffering there is, it will always be able to stand out. The times are already different, and "Kill the Wolf 2" is not expressed with the spirit of the Hong Kong film everyone in the prime of the year, but with the roar of the trapped beast breaking through. Ren Dahua said to Wu Jing, let's go out step by step, even if we blow up the prison. Gu Tianle said, my road is so difficult, why don't you cherish it when you are not sick and in pain. The character is a lunatic, but it's like speaking out for an older generation of action actors. Even the little girl said to Wu Jing, I will wait for you to talk about an iron man who is not afraid of knives, guns and sticks to tears. This masculine film full of corpses, with a touch of warm energy, neutralizes the shadow cast by blood and cruelty. As Ren Dahua said, as long as you believe, you can go on. For kung fu movies, we should have the same hopes. (Text/Fang Yunan)