What kind of movies do you think 1 1 time should belong to?

The concept of "eleven o'clock" is not new. The screenwriter must have been influenced by two American dramas. First, the action science fiction drama Seven Days, in which the emergence of the time machine, the strict limitation of the time travel span (the film goes forward one day and goes back seven days), and the brief unconsciousness after human crossing are all inherited; The other is the suspense drama "Flash-forward" adapted from the novel of the same name. Many protagonists learn fragments of future events, but they get deeper and deeper in the attempt to escape, and finally they can't escape bad luck. The past is connected with the future, and cause and effect are inseparable. Revealing that fate is doomed and everything is doomed is a common and long-standing theme in American dramas. In the 60' s, in the twilight zone, someone tried to stop Lincoln from being stabbed through time and space. As a result, Lincoln was killed and the remake was replaced by Hitler. There is also an episode of Buffy the Ghost Catcher, in which a young girl predicted her own death. Although she was rescued by the protagonist and escaped the devil's pursuit, she still died in the fear of the rest of her life as predicted. The paradox of time in irresistible fate and science fiction movies is a perfect match.

Previous film and television dramas, if short in space, mostly dealt with this theme in a sarcastic tone. We watched the protagonist get rid of bad luck, self-defeating, and fall into the trap of fate. We felt sorry and funny, and we were attracted by the black humor born of drama irony. Eleven o'clock tells the story in a serious way, trying to make us empathize with the victims of this group of fate, instead of watching coldly, and has panoramic ambitions for great books such as family affection and professional dignity. However, the handling is relatively dull, the relationship between characters and reversal motives are not diversified enough, and the story is limited to 24 hours, which strengthens the sense of urgency of racing against time, cold and delicate, and the style swings at both ends, which is probably one of the reasons for the poor reputation.

It is said to be a science fiction film, unwilling to describe the time machine in detail, but only used to realize the single function of travel. As a prop, it is quite thin, and the rest has almost no "magic" elements, all of which are universal human nature. There are some contradictions in the theory of time and space. A scientist said that "we will arrive tomorrow, and she will arrive the day after tomorrow", which made me misunderstand that it was crossing a new concept. It turned out that this was not the case. I can still meet myself at different times. Even if it is a slip of the tongue, the professional quality of this scientist is too poor. The setting of computer virus seems to stay in the 1990s. "Warned by the future self" has no suspense, and you will win if you guess. No wonder some people compare a horror cruise ship to. At the beginning of its establishment, it was more supernatural curiosity than scientific aesthetics.

Another dissatisfaction is Ming Wei's selfless rescue, sweeping away the selfish haze of human nature and "rewriting fate", which is both bloody and far-fetched. In my opinion, it is better to change it into a "dying film", thinking that getting out of danger is actually an illusion and strengthening the theme of "irresistible fate" in a distorted way. Today's ending follows the paradigm requirements of Korean films. A narrow escape should be lyrical, touching and tearful, and it should be the dark clouds in Phnom Penh. In fact, no two people died in the video, and it is not true that it is a change of fate. This tear gas is not very clever. It is estimated that few female viewers will show up with paper towels.

In the final analysis, the film belongs to the small pattern of "limited card+closed space", just like an extended American drama, spending a lot of money on special effects of underwater cities and time and space travel, which is a bit like killing the chicken with a cow knife. Personally, I think the convergence of gorgeous appearance will make the audience pay more attention to the ideological connotation and emotional expression. Please don't misunderstand me. I am critical of the film repeatedly, instead of holding a negative attitude. On the contrary, these slightly lame omissions in the eyes of science fiction fans reflect the bold exploration spirit of Korean filmmakers in the "primary stage". China's sci-fi talents will never lose to South Korea, but China's films rarely produce "high IQ", even if they are shanzhai, shanzhai and patchwork. Hard science fiction and bizarre plots have long been in line with the "harmony criterion" that our film industry silently abides by. "Three-body" can't be filmed, perhaps because of insufficient production funds and vision, but how many excellent science fiction novels become images every year? The lack of good films can't rely entirely on electronic censorship, but the lack of good hard science fiction films is closely related to electronic censorship anyway. Korean filmmakers can bravely step into the strange circle of fate, but our inspiration can only stay in science fiction magazines, online forums and scripts that will never start.