Monitor movie reviews

I didn't know when I watched the movie that this movie was based on Qiu Naihai's Chasing the Murder, but about 15 minutes after the movie started, I vaguely felt that the rhythm and lens felt a bit like the Milky Way, silently thinking that the director really liked Hong Kong movies. Say that finish, I put the "tracking" out and watched it again. The plot remains basically the same, but some details added by the Korean version are very commendable and the shooting effect is also very wonderful.

What is the most successful country in Hollywood to study Asian films in recent years? It must be a Korean film, and you can see a thing or two from the production of this film. Praise the photography first. This film was shot six years later than Tracking. In these six years, the diversity of photography techniques and the development of technology are not a little bit. Therefore, it is natural that the remake is better than the original photography technology, but sometimes it is not necessary to have good technology to get a picture suitable for the plot. At this point, "look" is just excellent. Photography adds a lot of color to the film itself, such as using computer stunts to restore the plot in the subway, showing all kinds of small details at that time. For example, a police car crashes into a truck, and the camera is placed on the police car to create a first perspective and increase tension and impact; Also, when the protagonist chased the "shadow" to the river to observe all the callers, he took a big backhand with the remote control flight equipment, which was also very emotional; And the use of a large number of close-up details to describe the subject's psychology. In photography, "monitor" is completely superior to "tracking".

Let's talk about the plot and characters first. The Hong Kong version is only 90 minutes, and the Korean version is increased to 120 minutes, mainly to modify and enrich the plot and characters.

Hong Kong version of Qiu Naihai emphasizes the Buddhist concept of causal reincarnation. When Tony Leung Ka Fai said to his master, "How can Buddha bless people like us?" It predicted that Tony Leung Ka Fai would come to no good end, and it was accidentally hooked to death. Yam Tat-wah fell in a pool of blood after being stabbed before, telling jokes is the most sensational point of tracking. This point was modified in the Korean version, and the ending was changed to "shadow" killed by the sheriff at the subway exit, which was full of personal heroism. To tell you the truth, I don't like this adaptation, but I also think the ending of the Hong Kong version is too far-fetched, as if to add confirmation of reincarnation. I can't say anything happy ending. I can only say that these two endings fully express what the two directors need to express, and they are the best endings for each.

In addition, in the Hong Kong version, Pig Girl saw someone being beaten and didn't get off the bus to stop it. Later, the man lived next door to Fat Lin, and finally they wanted to catch the criminal. Here, Qiu Naihai once again emphasized the concept of reincarnation. However, the Korean version of the pig girl interfered with the criminal process. Although these two plots are aimed at shaping the growth experience of the pig girl, the role of the Korean version is limited to this, so this adaptation is actually not successful.

After the first robbery went wrong, the dialogue between "Shadow" and his brothers also changed. In the Hong Kong version, Tony Leung Ka Fai performed a quiet and dynamic performance, which was excellent. Finally, the quarrel stopped because a woman in the opposite building changed her clothes and was full of black humor. In the Korean version, in order to emphasize the ruthless nature of the "shadow", Zheng Yucheng is handsome in a more violent and direct way, and can't tell the difference between high and low, each with his own merits. Both of them have laid a good foundation for the following plot and characterization.

As for the characters, the Hong Kong version really only describes Xu Zishan's Pig Pig, Yam Tat-wah's Dog Head, Shao Meiqi's Boss, Lin Xue's Fat Man and Tony Leung Ka Fai's shadow, and everyone else is here to make soy sauce. The Korean version greatly expanded the characters and added handsome guys to the monitoring team. The Hong Kong version of the police stabbed to death has nothing to do with the monitoring team. However, when the Korean handsome guy came forward to check it out, he knew it was a criminal, but he was stabbed to death so easily. I always feel a little far-fetched. Of course, this sets off the cruelty of the "shadow" and makes it easier for the plot to move towards the usual aphrodisiac bridge in Korean dramas. This is a change of Korean style.

The "Shadow" played by Zheng Yusen and Tony Leung Ka Fai is the highlight of this film. Needless to say, Tony Leung Ka Fai's performance has always maintained a consistently high level. Zheng Yucheng is also very handsome this time, and the director takes good care of him. He added a lot of plays by himself, including the scene in which he took revenge on his teacher at last, and the one-on-one fight in the narrow alley. This is obviously the plot in the class B operation made in Hong Kong. Coupled with Zheng Yuxing's clean action design, it really makes people mistakenly think that this is an out-and-out movie. It's just that Zheng Yucheng, a handsome man, is too fond of joking and is suspected of being a fool. I like Tony Leung Ka Fai better than him. Tony Leung Ka Fai's Shadow works rely more on his unexpected intuition, while Zheng Yusen pays more attention to careful calculation. I really like Zheng Yucheng at this point.

Of course, the most important of these two films is Pig Girl, because I saw Han Xiaozhu first, and then Xu Zishan. At first, the gap between the two really made me unacceptable. Han Xiaozhu should be the best actor in this movie. On the other hand, Xu Zishan only wrote two words on his face-"new person". Just kidding, Xu Zishan really deserves the title of "pig girl", because that fleshy face is so consistent with this name. Therefore, the Hong Kong version is more like Xu Zishan's Graduation and Growth, while the Korean version of Han Xiaozhu is more convincing. She has her own ideas without losing the immaturity of a girl. I can only say that Han Xiaozhu completely defeated Xu Zishan.

On the other hand, although the basic pattern of the Korean version of the story is not much different from that of the Hong Kong version, the progress of photography technology and the screenwriter's digging deep into the details of the characters have made the Korean version more complete and full, and also have the temperament of a blockbuster. () The Hong Kong version drew a huge but complete circle on the plot. Although there are small flaws, it is also a one-stop appearance. Finally, it is Qiu Naihai's best thing to pull all the plots back to the starting point with reincarnation. Judging from the viewing effect, I prefer the Korean version, but it's a pity that no matter how excellent it is, it's also a remake. I applaud Qiu Naihai's screenwriter skills here. Without his story, we can't see the Korean version of the film.

Surveillance Film Review (2)

I don't know why this film is called Surveillance. Just like Wong Kar-wai's film Chongqing Forest, there is no Chongqing and no forest. Chongqing Forest is just a restaurant.

Road movies and serial killings, a good combination, but also a little ironic, a pair of murderers, a pair of drug addicts, a bunch of boring and irresponsible police, a family of four, finally died in the hotel of the FBI (as if playing a threesome), the plot developed naturally and reasonably, and also reflected various problems in American society.

The most interesting thing is the little girl. She was the first person to see blood on the roadside. She told her mother that she ignored her and saw the truck slide across the slope. She didn't say anything. She just ran forward alone. When she was killed, her mother didn't cry or feel sad. Later, when she arrived at the police station, the little girl didn't speak until the fake FBI appeared. Finally, she knew who was the murderer (who killed her mother). She didn't tell the police, only the man. Maybe she didn't trust the police. Maybe the injured police didn't let her tell the truth to the drug addict from the beginning (his partner was killed by mistake). Maybe she only trusted the two murderers. After so many things, the little girl has been calm, not afraid or sad. Is that little girl as abnormal as those two murderers? no

The female murderer liked the little girl very much, saying that her experience was similar to her own, and she didn't take her away or kill her in the end. Maybe they are not perverted murderers, maybe they just want to stimulate a pair of desperate mandarin ducks, or maybe they have no way out, just like the pair of thelma and louise 20 years ago.