Quite different from the Korean version of Shelton-style role in "This Life is the First Time", Lee Min-ki plays a rather capable policeman in "Everyone's Lie", and the whole person's performance has "entered the world" several times.
The former is cold at any time, cold and hot inside, and the whole person seems to have its own boundary, while the latter has the familiarity and calmness of the mixed crowd.
Shuxin sauce almost did not recognize at first glance, very much "rely on acting skills to change the drama such as changing heads" meaning.
However, in addition to the different overall character textures, li Minji, who has been broadcast so far, does not seem to have a particularly brilliant space to play, and the most intuitive feeling of the play is also "a bad breath".
When soap operas are not easy enough to watch, they may miss important clues for a while, and the characters are many and complicated.
When the main drama is not tight enough, either the bridge section makes people feel bored, or the details make people feel that they cannot withstand scrutiny.
This Korean drama seems to be desperately trying to expand the novelty and fun in the setting, but the appearance is quite suspected of standing still or even going backwards.
"Wandering" is a "black screen" + earth-shattering case mode, the first episode of a plane killed more than two hundred people.
The shot of "When the Camellia Blossoms" came up seemed to say: I'm sorry, I didn't expect it? The heroine seems to have died in the first episode.
The opening mode of the heroine's life in "A Day of Accidental Discovery" is simply fantastic: a few hours and a few days of waking up suddenly "disappeared".
And this "Everyone's Lie" is a "black curtain" + suspense mode.
There are bright spots, but the overall performance is relatively mediocre.
"Everyone's Lie" begins with the most attractive elements of kimchi film and television dramas: South Korean politicians and big chaebols marry and collude, innocent people in the cold door are killed, and the heroes fight in the sword and light sword shadow.
However, unlike the plays such as "Auxiliary Officer", which are deeply rooted in the cannibalistic nature of the system, the "shady setting" in "Everyone's Lie" is very shallow, with no profound insight and no constructive criticism.
There are even some similar business war backgrounds in romance dramas, just pulling a skin and just using it as a cover; of course, Li Minji's drama is much better than those third-rate romances, but it is obviously not enough.
First, the story "reverses" the mediocre.
The old father-in-law who is engaged in politics died late at night, the appearance of accidental car accident is false, and the human murder is real.
At the funeral, the son-in-law disappeared, the business trip to Germany was fake, and the unknown was true.
The daughter (Li Yuying) and the police say that it is false that they do not know, and that it is true that they have hidden something.
What does this string of events sound like, what's the biggest feeling?
It's also too old-fashioned.
It is very conventional, and the audience can guess without spending any ink and ink, and has been performed countless times in criminal investigation dramas.
However, the play uses a lot of space to shoot this "reversal" that does not have much sense of surprise and surprise.
How to verify that the car accident is not accidental but man-made, from looking for a driving recorder to testing rut marks, to finding the smell of cleaning liquid at the inspection site, warm and dragging
That's called mediocrity, right?
The only highlight was probably a shot that accidentally caused sparks on the highway during the investigation of the scene of the car accident.
Because the invisible residue of flammable liquid is accidentally ignited, this is something outside the audience's presupposition, and it can be focused instantaneously.
But in the first two episodes, there are too few such scenes, and many times people feel like "how come you came to this set again"?
Found the knife that cut the hand, the blood stains matched the test so that the suspect was locked, and then "reversed": why did you put the knife back to your home after the murder and cause trouble?
Found a rider riding a motorcycle to send "limbs", "reversed" he is just an unknown truth to send couriers.
These are all routine operations of criminal investigation suspense, low-level reasoning, old-school mode, things that can be solved with one line, but it is necessary to shoot multiple shots of things, which is boring.
Second, the rhythm is mediocre.
There are some "heavy taste" scenes in the play, such as a box thrown at the father-in-law's funeral, and after opening it, the son-in-law's hand is cut off.
This can actually be filmed very scary and shocking and "perverted", but the rhythm of the play is too soft and protracted.
From her daughter speaking on stage at the funeral, the police driving by, the unknown courier riding a motorcycle with a suitcase, to the children in the square playing, after the discovery of the broken hand, the crowd screamed and panicked, and scattered.
The policeman played by Lee Min-ki and the heroine face each other in the air, seeing that the ring on her hand is the same as the one on the broken hand, and the camera then gives a close-up of the broken hand. (The version I watched also played mosaics) This close-up still stays for a long time.
The narrative logic all seems to be right, but every part seems to be too long and too boring.
When the ultimate moment (hand close-up) that should have scared out the good villain appeared, the effect was very weak, on the one hand, the audience had already done a good job of psychological construction, and on the other hand, it had already been tortured out of exhaustion.
Third, the lines are mediocre.
The owner of the forensic expert is the heroine's husband.
The bitter father grabbed the doctor and cried, "No, no, no, this is not true, you told me this is not true."
Any one hundred and eighty-line screenwriter who writes a dog blood drama can write that relatives say "no, no, this is not true" when they see their son being hurt.
Since the old father here is a big chaebol who is quite cloudy and foggy, and seems to be quite scheming about the city government and the villain of the tyrant, can his reaction be a little more advanced?
"All The Lies" seems to have a very mechanical structure correctness.
There must be a "shady screen", there is, but the result is a very "background board".
There's going to be a reversal, there's, but it's actually too unsurprising to reverse.
There must be laughter, there is, but it makes the rhythm more fragmented.
It seems that each element is complete, but it is not satisfactory, and together it is the effect of "one plus one is less than two".
So far, what interests Shu Xin sauce most in "Everyone's Lie" is the good atmosphere of several people in the police station and the warm emotions of a family.
The policeman played by Lee Min-ki is about to be transferred, and the junior tomboy in the bureau runs out of breath, thirsty enough to grab the wine on the table and drink it, and then starts to drink crazy: Woo woo woo
It's easy to sensationalize the scenes, but the show is quite cute and natural.
After that, the heartless girl reasoned about the case, and the normal reasoning of "someone murdered Weng and his son-in-law out of interests" was described by her as a nervous quality that she admired bitterly, deeply disappointed, loved and hated in the American drama.
It's a drama girl I'm not wrong! The idea of being a "snort" scholar is like this!
The shock of the senior straight male predecessors on the scene .jpg
So everyone has a cute aura.
However, this obviously does not hide the shortcomings of the play's "difference between excellent and excellent".
After the family accident, the heroine was asked to inherit her father's unfinished business and participate in the election, and the first episode was filmed once; the second episode was actually double-whined back? The mysterious man sends a video of her husband kidnapping her, demanding that she must go on a campaign or kill someone.
This logic is very unsmooth, right?
The heroine used to be a café owner, and she did not understand her father's political career or the business map of her husband's family.
If for the sake of the family's interests, she must be required to support the scene, the strong mother in the first episode has already nodded for her and agreed, and what is the meaning of threatening again in the second episode?
What's more, the weak and panicked performance of the heroine when threatened makes the role very unattractive.
If you want to lay the growth and change of the character from white to black in adversity, you don't need to "vase" so thoroughly in the early stage, and the guinea pig is soulless.
Similar characters are unlikable or poorly detailed, adding to an already mediocre texture.
The play seems to be ambitious, but the degree of completion is somewhat worrying, and the experience of chasing the drama is quite chicken.