Good-looking martial arts movie Zhang Yimou's House of Flying Daggers.

"House of Flying Daggers" is a work that can best reflect the characteristics of Zhang Yimou's entertainment films: a simple story is packaged into a gorgeous and complicated form. Aren't most entertainment films in Hollywood like this? This film has a strong oriental aesthetic feeling, extraordinary space design, martial arts, and music. The weakness is the thin line of love.

Peony Square is beautifully patterned, with elegant colors of painters, painters, pink and green, and the dazzling performance of the immortal's directions is amazing, which really feels like recreating the weather of the Tang Dynasty. I haven't seen the same level of design in other directors' works.

The costumes of characters are no longer as pure and eye-catching as heroes, but complex and exquisite, which reduces the purity of colors. Miss Sister's two sets of clothes in Peony Square win with patterns, and the makeup of eyebrows and petals is amazing. Although it is grass green and monochrome after returning to the flying knife door, the close-fitting clothes are still woven with dark green patterns, which are simple and simple and pleasing to the eye. The two sets of clothes of The Golden Catcher, except the tooling, are heroic, and complement each other with Takeshi Kaneshiro in Shuai Shuai. Other supporting roles are also unambiguous.

There are five scenes in house of flying daggers. The action of catching Liu's head in Peony Square is full of stunts of martial arts experts, with many empty moves and some abrupt jumps. Pull the bead curtain, pregnant with the breath of fighting. In the battle of the Woods, the cavalry attacked first, then one enemy and four ponds scuffled, stopped fighting with arrows, and the combat richness was upgraded. Flying knives began to appear in the field battles around Chrysanthemum. The fierce Taishan of the shield soldiers topped the top, fled, chased and attacked, and hidden weapons helped to defend, and the fancy of fighting further increased. The battle of bamboo forest is the highlight of this film. The director explored the possibilities of bamboo as a weapon, made sticks, javelins, sharp knives and prison clips, and fought fiercely in the same color system, which was unprecedented in excitement. The last battle turned into a love knife battle between the golden catcher and the Liu catcher, and it snowed heavily from the sunny day. In a movie, fencing fighting, cavalry fighting, infantry fighting, knife fighting, bow and arrow fighting and knife fighting are combined. There are two battles, and many battles are outnumbered. There are forest wars, bamboo forest wars, flat land wars and indoor wars. The captain of the martial arts drama is a grand view, and the director can shoot differently. This development is extremely difficult.

A closer look shows that the Peony Square still has the shadow of a hero and is elegant. However, the subsequent battles are mainly based on actual combat, and only archery and flying knives are superb. The two catchers chop and chop like street fighting between young people and dangerous people, which is a bit out of touch with the beginning of the play, but fortunately, the flying knife is round, which unifies the legendary action of the whole film.

My little sister died to save the Golden Watcher. Chief Liu didn't send out a flying knife in order to end up with his little sister. This is where the director is nervous, and the incomplete ending will make the audience sigh.

There is a story about the relationship between men and women. The former Soviet Union had the novel Forty-one, and Hollywood movies had similar stories. Since it is a film dedicated to the love in the bones, how to stand up to the reliability and richness of feelings is the key. In this film, the intensity of love is enough to protect the other side with life, but the dialogue is fatal. Love or not, this time it's true, for one person, and so on. It is unthinkable to say such childish things in a spy war. Men and women in love always talk about other people and social hot topics to prove their values and world outlook, which not only integrates feelings but also tells the social background. This is often done in Gu Long's novels. In "House of Flying Daggers", he said that no amount of words can escape the true sentence, making the characters thin and empty. The gold catcher is a vulgar client in Peony Square. He has no taste in interests. He was out of breath, and he looked like a prodigal son when he sang "Beauty Returns to the North". On the way to a thousand miles, I peeked at my little sister taking a bath, and then I yelled at my little sister who just put on men's clothes. How did it become a life-and-death love? Where is your little sister? Do you like her because she is handsome? Plus trying to protect yourself? In the emotional window? On the contrary, catcher Liu has a very good relationship with him. Coming out of Peony Square, catcher Liu grabbed the hand and touched the torture device in the interrogation room. In the battle of the wilderness, he saved him by shooting a wooden dart. In the bamboo forest of Feidaomen headquarters, they played the fairy guidance game again. Finally, out of love for life, they hate and kill Xiao Mei, and seek common ground for double suicide. Liu's cruel persistence became a bright spot. These are all script problems, which are harmful to the film.

In terms of audio-visual enjoyment, this film can score 9.8 points, and the details are also very strict.