Daniel Craig's version of 007's closing work "007: No Time to Die" was released, and the Douban score rose slightly from 7.0 to 7.1 points.
The box office performance is not unusually vigorous, but it is also a good performance.
The overall texture of the film is probably some kind of "boring good-looking", or "good-looking boring".
<h1 class="pgc-h-arrow-right" data-track="6" >, the recognition is getting lower and lower, and the sense of routine is shrouded in the whole film. </h1>
If "007: No Time to Die" is not good at all, it may not be fair.
From the perspective of a regular genre film, the film completion is quite OK.
Although there are many protracted points, although it is very conventional from beginning to end (and even boring), the action design is in place, the big scenes are high-energy, and the character ending is full of emotions, which is still decent for popcorn blockbusters.
Come on, let's start with the pros.
The title of "007: No Time to Die" is quite delicate, and the design and completion are good.
The picture of struggling in the sand turns into the hourglass of time.
The lines are traces of pistols and bullets.
A gun is tracked by bullet, forming the faces of the characters in the story.
At least it has been "not just the name introduction in the picture."
For example, there are several fight scenes in the film, and the degree of completion is also good.
007 After worshipping the deceased, discovering the scam, facing danger, on one side is a motorcycle, the other is a car, roaring from both sides, taking his life, Bond grabbed the rope and flew down.
It's very 007.
But do you say that such a bridge section is particularly outstanding?
That's not it.
Needless to compare with other films, Daniel Craig's own debut film 007, 007: Casino Royale, begins with a chase scene of rising and falling from a construction site landing gear, which is more intense and exciting.
Similarly, in 007: No Time to Die, the Ghost Party surrounds 007 and shoots on all sides.
007 was busy doubting the female companion and was unmoved.
At the last moment, he finally spoke oky, opened the front machine gun of the car, and cracked back.
Then open the smoke screen bomb, and a smoke slip successfully escaped.
Again, unless it's the first time you're exposed to this type of popcorn action movie, it's hard to be excited by a similar section.
In "007: No Time to Die", many "fights and fights" scenes, the overall texture is like this.
It is definitely above the passing level of the genre film, but it is too industrial, too conventional, too decent.
You can say that it is good-looking, but there is no difference between this good-looking, seemingly looking and not looking;
You can also say that this is a boring, cookie-cutter story of a lonely hero, repeated from generation to generation on the screen, changing soup without changing medicine makes people more and more interested.
From Sean Connery to Roger Moore, to Timothy Dalton, to Pierce Brosnan's 007 stories, to Atango's Mission Impossible series, or Matt Damon's "Spy On The Monster" series, the longer the story, the more similar and homogeneous.
The only thing that can be remembered is that the gameplay of Brother Tang and climbing the plane with bare hands has been constantly upgraded, but the essential distinction between these films themselves and each other has become more and more thin.
This is not the only stubborn disease of 007, which is common to many popcorn action movies.
Industrialization means more quality and stable output, but it also means that there is a lack of characteristics.
Compared to Dune, it may be clear why Villeneuve wanted to make a less popcorn anti-climactic and anti-genre story.
The film structure is still very genre-oriented, and the direct consequence of this treatment is the polarization of word-of-mouth and the discount of box office revenue, but the content available for contemplation and the space for interpretation have been greatly expanded.
<h1 class="pgc-h-arrow-right" data-track="105" > two, "epic final chapter" and "legend ending" can not complete the emotional resonance. </h1>
"007: No Time to Die" At the end, 007 came to a tragic end.
Hans Zimmer's music is particularly a plus, but it's hard to really promote the emotional resonance of the characters and the audience.
Part of the reason may be because the emotional landing point of this 007 is "because you can't get close to your lover, so you choose to die."
But this love between 007 and Madeleine, I really can't move, let alone empathize.
Isn't that a very regular (very plastic) screen relationship?
At first, the two of them in retirement came on vacation happily.
After that, in the face of danger and suspicion, 007 sent Madeleine away.
Then reunite and ignite love, and by the way, I find another baby.
The whole story really can't get me into the play.
Therefore, in the end, looking at the death of 007, it cannot be brought into the mood of "the end of the whining hero and the tenderness of the iron man".
All I watched was "Oh the actors whose contracts expire are gone."
Of course, this is still a very decent and grand curtain call for Daniel Craig's version of 007.
Marvel's curtain call to this U.S. team and Iron Man is "I love you three thousand times";
All the heroes assembled, coming out of the golden light and shadow, full of ritual, cruel and complete for fans.
They are all routines, but there are too many routines, and they probably don't work.
<h1 class="pgc-h-arrow-right" data-track="106" >3,007 old, can you still eat? </h1>
The "old man" of Uncle Wolf in "Wolverine 3" is embodied in the role.
Superpowers degenerate and the flesh is constantly damaged.
The light of the superhero is greatly weakened, the pain of the knife to the flesh, the sadness of the twilight, and the tenacious courage in the face of adversity, are all distinct.
In contrast, the last 007, the state of the actors is obviously a little "old".
However, the role setting and function display avoid the topic of "hero old man" from beginning to end.
He can fight as well, as omnipotent as heaven and earth, and as an eternal legend of swords and guns;
In the immutable popcorn routine, such an "ageless" setting will only make people feel that it is a false and distant routine.
Without the courage to break through that layer of "super" filters, it is impossible to complete the emotional power transfer in the film over the years.
The real paradox may lie in the fact that the characters on the screen are "never old", and the IP and this kind of film off the screen are already too old.
Whether it's 007 or other agents, or the protagonists of the Quick Shock series, or the superheroes of the comic book, the genre itself is too old.
An effective way to break the game is to introduce fresh blood.
The Cuban state girl in "007: No Time to Die", Paloma played by Anna de Armas, the character writing is not too strong, and the play design is not more colorful, but the cute big beauty appears brightly, which is too beautiful.
It's really eye-catching.
It may not be difficult to find a new 007 and a new state girl;
The real crux of the matter is how to make the "old" IP and routine model often look new.