On November 6, the movie "The Return of the Sister-in-Law" was launched on the iQiyi Network Movie Channel. Starring actor Xu Dongdong, the film tells the story of how the sister-in-law achieved self-revenge during the Hong Kong-British period and the chaotic era, and led everyone to fight drug crimes. In this film work, the aesthetic elements of female violence are played to a very watchable level, although there are many unreasonable aspects of the work, but it is undeniable that the film as a whole is very good-looking and belongs to the sequence of cool films. So, my simplest assessment of this movie is that it sucks and looks good.
In terms of theme content, "The Return of the Sister-in-Law" is of course a rotten film, and cannot be classified as a sequence of high-quality masterpieces. Of course, the creators of this movie, at the beginning of creation, did not pursue any sense of excellence at all, what they wanted was the continuous sense of the climax of this cool film, especially with some content that fans felt more exciting, and the content of the film was produced. The whole fight, and the heroine's beautiful color to the extreme, are important elements and techniques for the film to present a cool film.
Although the official trailer of the film is online at 4 pm, at 3:30 pm, the whole film has been launched. I watched it earlier, so the bullet screen area of the film is not full for the time being. Based on the content of these bullet screens, fans are indeed addicted to the cool mode of the film. In particular, the element of "big sister-in-law" has indeed won the recognition of a large number of fans, and I have seen a lot of bullet screen content of "standing big sister-in-law" and "standing big sister-in-law". The movie "The Return of the Sister-in-Law" satisfies the viewing needs of established film fans.
However, as a slightly older "stubborn" old film fan, an old film critic, I have my own doubts. The road number of "The Return of the Sister-in-Law" is not the kind of ancient puzzle boy genre in Hong Kong movies in the 1980s and 1990s. And this kind of fighting and killing movies, although they talk about brotherly righteousness, morality, and even talk about a lot of justice must overcome evil, but because there are a lot of firefight content, a large number of group fights, etc., so bloody, violent elements are rampant. This kind of content, in our cinema films, in terms of scale, is obviously to think about.
In "The Return of the Sister-in-Law", the content of the group fire fight and the content of the actor Xu Dongdong's female body element being "used to the extreme" seem to be debatable. In this movie, there are a large number of two groups of people and horses fighting content, dancing knives and guns, and rushing up. These contents are very easy to see in the early Hong Kong ancient puzzle films. In the nineties, when the old editors watched the VCD, this kind of content was pitched. At that time, there was no voice of film criticism from the online media. However, among the print media at that time, they were also very vigilant and held critical opinions about the rampant "culture" of this ancient puzzle boy.
Whether film and television drama works will bring harm to our youth has always been a controversial topic. Some voices believe that a film and television drama, how to bring bad young children, is really a fantasy. Some voices also believe that these ancient puzzle boy film and television dramas have indeed played a very bad impact on the healthy growth of children. I can only take the nineties I am familiar with as a reference: at that time, many boys in junior high school and high school who did not study hard really liked to watch movies of the ancient puzzle boy class, and became their own so-called gang, which was once very popular.
And in the present, re-examine this "The Return of the Sister-in-Law", children with heavy schoolwork may not have the opportunity to watch it at all. However, I am more worried about the rural left-behind children. Now that mobile phones are very common, these children can pick up their mobile phones to watch, and even open a membership for themselves. If the audience is under the guidance of our parents and grandparents, there may not be any bad impact, and we will explain to the children that this is just a film element, it is the content of violent aesthetics. However, many children who do not have parents and grandparents to guide, it seems that seeing "The Return of the Sister-in-Law", will really have some anger. This is a point that I am very worried about.
At the same time, in this "Return of the Sister-in-Law", the use of actor Xu Dongdong's body elements is also the ultimate realm of domestic movies. Of course, you said on a larger scale, I have seen it. In particular, some European and American films, especially those of world-renowned directors who are good at using elements of violent aesthetics. However, like the old editor, watching this kind of film is already at the university stage, is an adult, has established its own literary worldview, literary and critical worldview, and can better understand these works. If you don't have these "views", you can see these works, which seems inappropriate to children.
Movies like "The Return of the Sister-in-Law" are bound to be good to watch and burst. Why? In the 1960s, it was already found in filmmaking. The creators of the previous generations found that if the film is developed from the perspective of the villain, and most of the content is the story of the bad guys, then the film can "do whatever it wants" and achieve a large number of viewing elements, and the final effect is bursting. The rampant popularity of a large number of ancient puzzle movies in Hong Kong in the 1980s and 1990s followed this path. Like the current "The Return of the Sister-in-Law", it is also the same. However, in the state of the film without grading, creating a work with this perspective is really a sweat.
In my article a few days ago, I borrowed the film review article of "The Life of Confucianism" to talk about the ethical issues of crime films. At present, more responsible film creators, in the creation of film and television dramas with criminal themes, follow some common creative ethics with convention values: do not use bad people as narrative perspectives, do not show specific criminal processes, and do not stimulate the audience, fans, etc. with excessively bloody and colored content. Based on these basic creative ethics, I am very worried about the film "The Return of the Sister-in-Law". Film creation, it seems, really can't be good on the line. (Text/Ma Qingyun)