This is the beginning of the third part, in Ding Cheng's opinion, compared with the first two parts, the protagonist is facing many crises and is wanted by a high amount of money, Wick, must show more comprehensive killer skills.

From melee combat, the use of cold weapons, to accurate shooting techniques, quick shotgun headshots......

Various techniques make the process of killing people full of aesthetics, make good use of all the items that can be found around them, and become weapons in their hands, and in the process of exciting pursuits, the audience truly understands that the ultimate goal of killing is to be put to death.

The most interesting thing is that as a plasma action movie, there is actually a director's discussion of philosophy.

For example, there are no rules throughout, how we differ from animals, and the story of the two wolves that the protagonist and his mentor mentioned when they escape from New York......

It seems that there is darkness and light in all people, and in the process of going to the light, they must also experience darkness, because the light is in the darkness.

He is not a good person in the standard sense, or even an out-and-out bad person, who will kill people at will and have no feelings for the rules of the killer world.

However, because of what he loves, he breaks the rules, and at the same time tries hard to live, in order to remember what he loves. It seems so noble here, but it is advantageous enough, compared to many other protagonists who are fearless, showing their abilities, killing all sides, every time he moves, he seems to be telling the audience a simple truth:

I just want to live,

To do this, kill all the enemies.

That's all!

It's because of this beast-like primitiveness,

in order to stimulate the deepest stimulation of the audience.

Like a trapped beast in a cage,

See how you can survive to the end?

After debuting for so many years, needless to say, the action is not to mention, and the drag racing stunts are also flying, but in terms of firearms, I have always felt that there is still potential to be tapped.

Needless to say, in China, May Fourth has come to an end.

Although South Korea is better, it is also useless.

finally came to Hollywood, two superheroes in a row, and the gun is a fart.

It's easy to meet a work that can have fun with guns, especially with firearms experts joining, which is why Ding Cheng is looking forward to it.

The most memorable scene is the nightclub massacre in the middle of the second part, although most of them hold pistols, they do not hide behind cover and shoot at long distances. The director adopts the most inefficient duel method: get close to each other to fight each other, and finally use a pistol to make up for the knife.

The gun, a modern weapon that can get rid of physical violence, has been deactivated in this series and turned into a cold weapon with an extremely limited effective attack range?

The spectacle of a bullet in a fight and a close-range headshot refreshes the old effect of iron combat with swords, slashes, guns, stabs, and swords, and you can see the director's great ambition to reorganize the structure and rhythm of the action routines with this as the main axis.

Creates a new visual effect of physical combat: the range of motion is small, but it is fast and sharp, and it can still splash plasma, and the rhythm of fast movement can even be used as a node for interesting changes in magazines.

With my deeper understanding of the language of the lens, I found that action movies are not only the action itself, but also include space design, prop use, scene scheduling and editing ideas.

For example, by giving legitimacy to firearms' cold-weapon melee combat, the series clearly draws on the concept of scene space design in traditional Chinese kung fu martial arts films: most of the fighting and shooting scenes are set inside narrow buildings, dance halls, corridors, underground passages, washrooms, and even under the surface of the water in swimming pools.

The limitation of the internal space effectively compresses the combat distance between people and people, making the combination of shooting and limb collision clear and reasonable, the rhythm is more tense, and the audience is more excited.

Because martial arts films and kung fu movies pay great attention to the invention and use of novel props, such as the nunchucks first used by Bruce Lee, or the golden knife lock exclusively invented by Zhang Che, which has been impressive on the screen for a long time.

Therefore, it is found that not only the use of conventional cold weapons such as knives, swords, axes, daggers, etc., but also broken glass ballast, belts, pens and even toothpicks are used as killing weapons, and the horse's hooves are used by the protagonist to defeat the opponent.

From the aggressive use of various props, it can also be seen that he has a true biography of kung fu films, although he is white, he may have more ideas than many domestic directors.

Even many of the shot scheduling completely restored the essence of the golden age of Hong Kong-style action films, cutting the fight scene into several consecutive parts, using different camera positions, scenes and angles to shoot each segment separately, and finally connecting it into a complete fight in the editing.

Nowadays, various Hollywood action fantasy blockbusters have used construction and editing too frequently to combine an action scene, omitting most of the content of the action, and linking several action nodes to form a fight scene, which can not only create a spectacle with fantasy in the audience's mental imagination, but also hide the clumsiness of the actors' lack of physical ability.

The director clearly shows disdain for such lazy playfulness, consciously erasing the lack of realism that comes with building the cuts. He prefers to retain the slightly bulky and sluggish side of the actors' movements, and insists on using segmented continuous shooting to present the real sense of power of the action scenes.

Combined with the cold weapon use of firearms, it brings a new visual sensory experience.

Authentic!

Ding Cheng suddenly remembered an interview with Brother Cheng Long last year, and was asked by a reporter why Hollywood no longer invites Hong Kong Island martial arts instructors to make films?

Because they have learned all the methods we invented, and they are even better than us, and now we have to ask people for advice!

Of course, the reason for choosing this style is also a huge challenge for the actors, Reeves himself is a kung fu fan, from the time he filmed The Matrix.

It is no exaggeration to say that if he hadn't been born out of nowhere, it is estimated that the uncle would have to make at least two sequels if he was hard-headed.