Feng Xiaogang's powerlessness from the collection number

Feng Xiaogang has been playing the game in recent years.

From Party A to Party B, it is basically a heartless Beijing-style comedy. It scratched its teeth in the itch, rubbed its teeth in the painful place, and never touched on social issues in depth. In cell phone, I laughed and began to criticize realism. Cui Yongyuan, who was in a hurry, jumped out and scolded him, it verifies that Chinese audiences say who is not happy with the promotion, and even those you are not talking about, they can't help anyone jump out of the conversation and buckle the basin on their heads. Another Hong Kong director smiled and said that Feng Dao dared to play and brought everything around him to the screen. It sounds like praise, and it gives people the feeling of breaking the rules.

So Feng Dao turned again, grafting the Beijing-flavor comedy into a police film, and staring at him and saying "No thief in the world". This train carries a Hong Kong star that Feng has never used before, breaking through the Yangtze River line of defense. Feng Dao is no longer a leader in the middle of the world. As a national box office director, his ambition to ride the whole world can no longer be overwhelmed. He is eager to launch the banquet and yell at it: what's hard to make a film? For people who have made a comedy, this is just a piece of cake. In this revolution, Feng Dao failed to save the ancient Chinese martial arts blockbusters that were born and destroyed since hero, however, he accidentally obtained the Jianghu status, which is equal to that of Zhang Dao and Chen Dao. All three of them have shot Jinyu's table and poor reputation. The audience hoped that Feng was able to go down, withdraw from their addiction, and go back to the "Nobility" which the people liked, but he targeted war blockbusters without hesitation.

Regarding the Assembly number, Feng Dao said many self-contradictory words in essence. Later, he said that no Chinese actor has a real box office appeal. There are only a few directors who can attract the audience. He is exactly one of them. Later, he said: In this film, Liu Heng wrote the script, and cracked up the Koreans. The director was a waste. He said later that the film hurt him. He is not only living to make movies. After a while, he said that shooting this film does not cost much effort and physical strength. From these speeches, I felt his powerlessness.

I like to play the game with a calm appearance. "color, quit" is always like this. "name cast" is also like this sometimes, but "collection number" is not. I don't feel the same way as I always think. If the proposition "saving a soldier Ryan is worth losing eight soldiers to save a soldier" in this article shocked me, it's already repeated and echoed that we shouldn't sacrifice a total of 47 people. Paying the Price, making achievements, and not being recognized. This is the grievance that most people think they have suffered. The process of making comments is also a clever psychological massage for the audience. However, for me, Xu wenbiao, who is always "twice as hard-working and half-rewarding" in his career in Genesis, is more sympathetic than from the battlefield. There is a rule in war: there will be sacrifices if there is struggle. This problem cannot be solved even if there is a big grievance.

I am not a fan of the military. I don't know how difficult it is to use firearms. What I can see is that the shells in the decisive battle are eye-catching and fight specially to nobody's place. The soldiers seem to be scarred and actually very safe; the soldiers in the "Assembly No." are not protected by the Gods. They are always found in the frying points, and then blurred. I can still feel that the battle between the two armies in "golden armor" only has a vision and a middle scene. It looks like two large pieces of paint are being mixed and spilled, and there is a panoramic view of the ants in "The Assembly number, there are also details of disphysically flying. From the technical point of view, this is definitely an improvement. However, I also think that, after more than half an hour, the design is still flawed. The real battles may be so messy, but the battles in the movie should be clearer. Just as in reality, martial arts masters often score points between the electro-optic Firestone, but when it comes to a movie, it will take another dozen minutes. For example, the Vietnamese gunman who killed half a class of Americans in the "all-metal shell" is thrilling from her appearance to being wounded, captured, and shot. The 9-in-the-middle section in the "Assembly No." is also terrible, but there is a lack of paragraphs that can be remembered for a lifetime.

Let's look at it. There are also sources for "big pancakes" to step on mines. One of the eight revolutionary model scenes of the Year was the dark night. Yan weicai, the reconnaissance platoon Director, led the team to penetrate the back of the enemy and accidentally stepped on the mine. He calmly told the comrades to conceal the information, designated the temporary commanders behind him, and told them to find Cui da in case of difficulties before they began to mine. He has more skills than the "big pancake". A person can get rid of mines without loss. Liu Heng and Feng Xiaogang are middle-aged people, and the model drama is their young learning skills. At every critical moment, they will walk out accidentally.

There is a detail that makes my eyes shine. The valley fell to the field hospital, and the doctor watched him hurt to let him go. He set up his old qualifications: Lao Tzu participated in the revolution in 1938, lao Tzu, and the second "Lao Tzu" were cut off before being exported. If a person loses his or her qualifications, he or she will lose his or her skills. Think about how terrible this is.

Generally, a director can only make one category of movies for the rest of his life. To put it bluntly, it is a movie. Feng Xiaogang cannot control the martial arts film "banquet" and the war film "assembly number" freely. He lacks the sense and reflection of the war. He cannot take inspiration like a civilian comedy, and he cannot take over, govern, or promote such movies. Although the title titles contain the words "Feng Xiaogang's work", there is actually no real Feng's energy and essence. Other directors can make a perfect shot. I think Feng Dao should go back to the streets of civilian comedy. He can add other elements, but as a beauty and seasoning, he must never shake the foundation.