Is the movie Taiping Wheel really that bad?

? All these have made Taiping Wheel: The Other Side a unique and important work in the China film of 20 15, and this summer has also given us an opportunity to look forward to the beautiful era that bloomed on the other side, to reflect on the neglected and forgotten past, and to remember those ancestors who lost their lives and youth for no reason during the war years. I came to see this movie only because I was free for the time being, and I got it right. I'm not as prepared as I used to be at the movies. After the movie, most people left in a hurry. When I saw another movie the other day, people were still talking and laughing. If the film is poor, forget it, but the quality of the film is good. Seeing this situation, I can't help sighing. China films only recognize the market, but have no feelings. Of course, it is not impossible to make a good movie. At least three movies in recent days definitely deserve their high box office, Monster Hunter, Return of the Great Sage and Pancake Man. Among them, The Return of the Great Sage, which has the best reputation, relies on the high quality and touching but not naive stories honed for many years, while the other two rely on the super-high grasp of the market and excellent film technology. According to John Woo's experience, the technical support of Taiping Wheel is definitely higher than these three films, and the failure of this film lies in its automatic separation from the largest audience. A few years ago, when only fans or semi-fans entered the cinema, the response of the film should be even greater. At that time, the audience at least thought they were young artists. Other shortcomings of this film can't hide this ambition to care about the world. These people contributed to the success of Red Cliff. But now that diaosi is in power, this film is still continuing the style of "Red Cliff", and the feelings of home and country are obvious, which makes people look up. Director John Woo still doesn't want to let go of his social status. His films always show what he cherishes. He has been very successful in the past, from "The True Color of Heroes" to "Red Cliff". His failure should alert not only himself, but also the "masters" who brought countless glory to China's films. To be fair, this film is better than the first part. After re-editing, some plots overlap with the first half, and you can basically understand them without looking at the first half. No longer talk too much about war, but mainly about love.

? In this way, the plot is more compact, and the expression of characters' emotions is much richer, which is especially obvious in Yan Zekun (Takeshi Kaneshiro). Not only love, filial piety to mother, love to brother, but also inexplicable feelings with eldest sister-in-law, which makes him the most complicated part of the whole story. Other clues are all about choosing a point, but it's really not exciting enough. Most of them rely on actors' performances to support the scene. There is too little room for them to play in the script. In a trance, Zhang Ziyi seems to have returned to the stage of stiff performance when he first debuted. If David hasn't seen the first half of his performance, he has no idea what he is doing, while the other two foreign stars are playing with vases in their notebooks. But because most of the time is on the boat, the context is very clear. Although emotion is out of touch with the present, even if it is life and death, it is still not touching, but it is much better than the chaotic dance in the first half of the narrative.

In terms of stories, special effects and photography, at least it is still standing still. This is not ridicule. The war scenes in the first half are actually wonderful, and many methods can even be recorded in the history of China movies. This film highlights the beautiful scenery of Taiwan Province Province in my memory. In the long memory of Takeshi Kaneshiro, Masami Nagasawa came wearing a kimono, and the grass flying everywhere in the beige air was more touching than their beautiful love. The shipwreck scene contributed world-class special effects, even if James Cameron personally shot, I am afraid so. Of course, the hull is too narrow to produce Titanic-class vibration, and it takes more than ten minutes for the ship to be completely silent from the accident. No wonder the whole movie has little to do with Taiping wheel. This is not a love story on the ship, but a love legend in troubled times. The boat is only the beginning and end of several love affairs at most. Now is not an era of greatness, but an era of self-awakening. If two relationships last a long time, it's already a joke. If we have to create an atmosphere, we can only make it as interesting and lofty as The Avengers or Iron Man, like a fairy tale that deceives children, but now even children don't like it.

People don't need the story of war and peace to last long, and the precarious days never seem to be seen. The sinking of the high-quality Taiping wheel was a tragedy of fate at that time, and now it is a tragedy of the times.