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There used to be a saying where Murphy lived, where there are people, there are rivers and lakes, and the circle of professional film critics is no exception, Roger Ebert with the title of Pulitzer Prize winner, his influence among film critics is indeed unparalleled, but it does not mean that other film critics will look at his face and act, just like Roger Albert looks down on some movies, Kenneth Turan does not look down on Roger Albert.

The argument between the two men sounded like they were rooted in a difference of ideas, and this disagreement was the most difficult to resolve, and many people in the front room looked at them with attention, and Murphy listened to Bill Rothes's advice and stayed away from them.

There is no need for him to agree or oppose either side, and there is no need to be involved in it.

"They're all so old,"

I don't know when, Gal Gadot returned to Murphy's side, "The temper is still so rushing!" ”

"Two people have different philosophies, but they insist on their own opinions," Murphy turned his head to look at her, "and they always have to earn a lot of money." ”

Gal Gadot rolled his eyes, "Whose opinion do you agree with?" ”

"No one approves!" Murphy replied without hesitation.

"There is no position." Gal Gadot blurted out.

"It's not that I don't have a position," Murphy said with his hands on his chest as he looked at Kenneth Turan and Roger Albert, who were still debating excitedly, "because my views and positions are different from them. ”

Gal Gadot immediately asked curiously, "Your point of view?" ”

"I'll tell you later," Murphy looked at his watch and reached out to take one of Gal Gadot's hands, "let's go into the theater." ”

"Hey, what are you going to do?"

As he spoke, Gal Gadot pulled out his hand, saw someone around him, raised his hand and grabbed the crook of his arm, Murphy shook his head imperceptibly, and led her into the theater.

Due to the controversy between Roger Albert and Kenneth Turan, Murphy was the one who came in late to the crew, and walked to the front row, where Robert Downey Jr., James Franco, Seth Rogan, Jonah Hill, Jessica Simpson and Jessica Alba and other main cast members of the crew were all present.

Next to James Franco, there were two empty seats, and Murphy brought Gal Gadot here.

"It's ......," Gal Gadot looked around, all of whom were members of the crew, "I'm not sitting here well." ”

Murphy gestured to the seat, "This is for you, and others have their companions too." ”

Gal Gadot turned his head to look, and indeed as Murphy said, Jessica Simpson and Robert Downey Jr. sat next to a male and female companions, respectively.

"Thank you." Gal Gadot smiled at Murphy and sat down with him.

As soon as Murphy sat down, James Franco next to him came over, and his voice was extremely low, "The action is fast, have you succeeded?" ”

Pretending not to hear James Franco, Murphy pointed to the big screen, "Don't talk, the screening is about to begin." ”

Sitting in the middle of so many people, especially from time to time with curious eyes, Gal Gadot was somewhat uncomfortable.

Murphy patted her arm gently, Gal Gadot turned his head and smiled, I don't know why, seeing the concerned expression on Murphy's face, my heart suddenly settled down.

Outside the auditorium, after Harvey Weinstein intervened in due course, the debate between Roger Albert and Kenneth Turan was over and he also walked into the screening room.

Afraid that the two would quarrel again, Harvey Weinstein deliberately arranged for the two guys to sit far apart, and Roger Albert happened to sit next to Jennifer Mona.

"Hello, Mr. Albert." Jennifer Mona immediately recognized him, and Roger Albert asked suspiciously, "Are you?" ”

"Jennifer Mona, a staff reporter for Vanity Fair."

At this point, the auditorium suddenly darkened, the big screen lit up, the screening officially began, and all the discussants ended their conversations, and all their attention was on the big screen.

The picture is different, both in color and chiaroscuro, it is different from today's popular movies!

In the thick darkness of the night, an open-top car drove along the road at a high speed, and the occupants of the car had a striking white cross scar on their foreheads......

At first glance, it looks like an old-fashioned black-and-white movie, but on closer inspection, it's different from a black-and-white movie, where the blacks are richer and the whites are more harsh!

The moment he saw the picture, Roger Albert forgot about the reporter next to him, and the strong personal style of the painting went straight to the sky, looking at him, it was even more comfortable than eating an ice cream under the scorching sun of Los Angeles!

He has read comics, and comics are in this style, but how can the carrier of comics be compared to movies? Under the contrasting picture style on the screen, the comics are simply turned into scum in seconds......

It is true that Frank Miller gave "Sin City" the soul, but Roger Albert knows that movies are not comics, and no matter how good a comic wants to become a movie, it requires the director to have a deep foundation, let alone such a comic.

Obviously, Murphy Stanton not only recreated the style of the comics, but also made the unique style of the comics more unique and intense, if the original comics were as comfortable as the winter sun in New York, then the current movie is simply the June sun in Los Angeles, which no one can ignore!

At the beginning of the film, Robert Downey Jr.'s Hardy goes to rescue Nancy, because Sienna Miller and James Franco both played important roles in the feature film, and Murphy did not put the experimental short film into the feature film.

Quentin Tarantino accompanied Harvey Weinstein, watching this film with an extremely strong personal style like his own, and when he saw Nancy, a stripper, appear, he couldn't help but admire it.

"Murphy, this guy, is too good at playing, the picture of the film is indeed in the style of comics, but it has the director's distinct personal concept in it."

As he continued to look down, he found more and more that Murphy was indeed shooting the film with comics as the blueprint and tone, and basically followed the style of comics, but with the lens of the film to make it more intuitive and exciting than Frank Miller's comics.

So far, the story scenes are basically black, white, and gray.

In order to enhance the visual stimulation, Murphy obviously reduced the important gray color in the comics as much as possible, and replaced it with black; It is not difficult for Quentin to find that the appearance of gray and white is only to allow the audience to clearly distinguish the dead black, so as to shape this dark sin city.

The only color scene in the film appears at the end of the story "Sniper", where the girls of the old city stand on a tall building and raise their guns to slaughter the invading mob in the street.

At this moment, black, white and gray dominated the big screen as usual, while the sky behind the girl was dyed blood red with the flickering lightning.

The dark red night sky is a fitting reflection of the blood-soaked streets on the ground, a metaphor for the heartiness and tragedy of the massacre.

"Such an extremely conceptual use of color in the story scene not only hints at sharp social contradictions and fragile social order, but also reveals the simple and brutal survival rules of Sin City, which is highly in line with the violent theme of the film."

Todd McCarthy's pen in his hand wrote this paragraph in his notebook.

He was reminded of the aesthetics of violence by this film.

The mainstream values of positivity and goodness are the guiding light for the development of a strong human society, which allows the living life to obtain a priceless treasure - freedom under the moral constraints of truth, goodness and beauty; The bottom line of the audience's psychological tolerance determines the degree of realism and aesthetic artistic expression of the bloody and violent scenes in the film. The two are interrelated and work together to draw a red line for the visual forbidden area of violent aesthetic films.

Appreciating the violent beauty of cinema and getting a stimulating aesthetic experience reflects people's desire for spiritual freedom, but Todd McCarthy knows that it must not override the mainstream values of society and must not set foot in the visual forbidden area of violent aesthetics.

It is not difficult to see from Sin City that a good aesthetic of violence must be built on a highly artistic visual language, and Murphy Stanton uses an art form that conforms to the mainstream values of society.

The film seems violent and bloody, and the young director obviously knows how to exercise restraint and control, and does not cross the psychological bottom line of the public simply for the sake of pursuing sensory stimulation.

Those paranoid realistic and bloody violence scenes, even if they bring a strong visual experience, are bound to make people feel a disgusting sense of guilt.

Such a film promotes naked extreme violence, a disregard for life and a desecration of freedom, which has no aesthetic appeal, makes it difficult for the audience to accept, and will eventually become visual pollution.

Sin City is certainly not one of them, and director Murphy Stanton's handling of violent scenes is extremely clever, allowing violence and aesthetics to blend almost perfectly.

As the screening draws to a close, Todd McCarthy has confirmed that Murphy Stanton has not only recreated Frank Miller's classic comics on the screen, but has also taken the comics by a big step forward with a strong personal style and a combination of violence and aesthetics!

On the other hand, Kenneth Turan suddenly laughed, because he found that Murphy Stanton is definitely not the kind of director who will insist on his personal style in Roger Albert's mouth, this film is like his previous works, it is indeed a strong personal style, but the concept reflected in many scenes is not difficult to find that the independent film director is quietly moving closer to the mainstream film circle.

The high-speed slow motion that shows off your skills, the well-choreographed action scenes, and the glamorous and sexy female characters......

There are too many of the must-haves for Hollywood blockbuster movies that are not available in the original comics.

If such a director is a director who sticks to independent films and his personal style, he Kenneth Turan would rather believe that God will come to earth tomorrow.

Roger Albert in the distance is different from what he thinks, the film's color, performance, monologue, and of course, the circular structure that is not the first of its kind, is what makes this film different from any previous comic book film, and the use of color alone is enough to write director Murphy Stanton in the history of cinema. (To be continued.) )