To the right of the Sundance Film Festival's official commentary, an entire page is filled with commentary from major media outlets.

The Chicago Sun's acclaimed film critic Roger-Ebert bore the brunt of the review, "breathtakingly sharp editing, shocking plot advancement, memorable stark characters, and evocative and profound aftertaste." This qiē heralded the birth of a director full of talent and passion: Lancelot-Strello. ”

As the most influential film critic in North America at the moment, Roger is not only the first film critic to win a Pulitzer Prize, but his television shows have also been broadcast around the world, won Emmy nominations, and even gave birth to the "Roger Ebert Most Neglected Film Festival" named after him.

Roger's film reviews are "relative, not absolute", and he will give two ratings when evaluating movies, one is the score of the movie itself, and the other is the recommendation score. To put it simply, some works are excellent in their own right, but they may be too heavy, too obscure, or too popcorn to be recommended to the audience. He insisted, "The movie is excellent when it achieves the purpose of the original shooting, but admitting it does not mean that the movie itself is worthy of recommendation." ”

It can be said that Roger is the most authoritative film critic of our time, although he cannot influence the box office trend or the audience's preferences, but his comments often become one of the important weather vanes for the audience to judge the movie.

This time, Roger and the Sundance Film Festival officials maintained an unanimous position, and he not only gave a four-out four-star rating, but also gave a four-star recommendation out of four. "Lancelot uses the perspective of a spectator to truly record the story of this city of God, like a magnificent oil painting, shocking and reflective into the passionate samba melody pouring down, admirable and unforgettable!"

Roger's admiration and affection for the "City of God" can be seen from this.

Megan-Lemann, a special film critic for the New York Post, also gave the highest praise, with a particularly dazzling evaluation out of four points: "It's like a bomb detonated in a fireworks factory: intense, shocking, surprising, dazzling, and extraordinarily wonderful!" ”

The short but favorable comments, you can clearly feel the excitement and excitement that comes to your face, plus the highest rating of four points, all the praise does not need to be repeated.

Meghan, a film critic who works for one of the nation's top 10 newspapers, interprets the film from a different perspective: "'City of God' reminds me of the British film 'Trainspotting' – it is worth mentioning that this work was brought to the United States by Lancelot from England to the United States and introduced to American audiences. It's an interesting coincidence.

Because these two films focus on a special group of people, the young generation in confusion and chaos, the ordinary life that is dark and chaotic to the extreme, but gradually falls with despair, there is no moral conflict, there are no decent people who sing the praises of virtue, there is no great judgment at the end of the century, but the real, ordinary, simple but magnificent life is told in a zero-point way. But obviously, the two films show two very different states.

The group of young people in 'Trainspotting' try to rebel against the mainstream society, subvert the stable outlook on life and values, refuse to do nothing under the mediocre system, they think about the absurdity of existence, and complete their self-transformation through a betrayal of friendship, so as to regenerate themselves.

Under the gloomy Scottish sky, Mark and his gang are decadent and confused, going to the extreme of passivity and inaction, just sitting next to the tracks and 'guessing the train'. But in the scorching sunshine of Rio de Janeiro, those energetic and enthusiastic young people resolutely went to the other extreme.

The group of young people in the 'City of God', they are wanton, they are enthusiastic, they dare to fight, they are rampant, they are fierce and fearless, there is a kind of youthful youthful affection, they only rely on their own vigorous vitality, in this thorny human purgatory, they dance wildly, even if the blood bursts, even if the life burns, even if the hope dies, they never know how to retreat, as if the blood flows with the smell of sunshine.

Scotland is not Brazil. ”

Since its release in 1996, "Trainspotting" has become one of the most famous representatives of cult and classic films over time, and it is also a treasure trove of British cinema that cannot be ignored.

In this way, Meghan put the "City of God" on the throne of God.

In the 21st century, The New Yorker no longer only focuses on politics, education, economics and other issues, but also extends its focus from painting, literature, sculpture and other artistic fields to music, film, theater and other more popular and broader categories. Still, they maintain their usual aggressiveness and subjectivity, and fully represent the personalities of New York artists.

Their admiration for Woody-Allen, for example, comes with no strings attached.

This time, the cold "New Yorker" also gave "City of God" a perfect score of four points, and did not hesitate to praise himself, "This is one of the most uncompromising, desperate, bleak, and dark films I have ever seen."

From the shot to the picture, from the lines to the plot, from the soundtrack to the editing, from the performance to the thoughts, Lancelot heartily showed a wild city abandoned by God in front of the audience.

The psychedelic editing technique, the jumping and flashing shots are almost dizzying, but they bring out the smoothness and crispness of the plot of the movie even more, the switching between the medium and close-up shots completely shows this incredible dark ghetto in the eyes of the world, the hot air flowing in the air scorchs this God-forsaken city, and in the restlessness, the violent rebellion in the eyes of young people can almost instantly ignite this city of God, which is quiet on the surface but has long since rotted at the core.

It's a creepy city, but at the same time it's a real city. Queens, New York, is like paradise in comparison. ”

Lawrence's praise of the "City of God" is unreservedly fired, and finally ends with a perfect score of four points.

From the official Sundance review to the Chicago Sun, from the New York Post to the New Yorker, four solid perfect scores put the City of God on the throne of classic in a completely unexpected way, and the perfect score review of the Chicago Tribune was once again the icing on the cake.

Veteran film critic Mark-Caro wrote, "A classic gangster plot feast that combines sight and sound, with a crime epic like 'The Godfather' and a playful non-linear narrative like 'Love is a son of a.'" 'City of God' explores a deadly culture that brings a real and terrifying reality to the viewer without hesitation, and is undoubtedly the most dynamic, ambitious, and courageous work on the big screen in recent years. ”

The Chicago Tribune's review put "City of God" on the same level as two recognized classics, with a clear and unwavering attitude.

The first and last five perfect scores accounted for an astonishing proportion of the 14 official media outlets, while the comments of the other nine media also sent affirmations.

"USA Today" has a rating of 3.8, "It's a movie where you never feel like time is ticking, and there are always surprises around the corner that make the whole viewing process fun." ”

The Philadelphia Times also gave a 3.8 assessment, "A documentary drama with epic effect—full of sparks and gore, like the bite of wild animals, dripping with blood." ”

Behind the 3.6 point evaluation of "Entertainment Weekly", there was a hidden exclamation, "Unbelievable! Unbelievable! An undeniably powerful energy, each character has a complex and profound moral hidden inside, which is perfectly combined together, not too profound, not too verbose, but perfectly provokes profound reflection. ”

In addition to the overwhelming praise, there are still some media comments that are relatively calm.

The Austin Chronicle gave a three-point evaluation, "Bloody, cold, cruel, unbearable to look at, but no one can ignore its energy and profundity." ”

The Los Angeles Weekly also rated it with a three-point rating, "For viewers who haven't gotten enough of the violent experience from Martin Scorsese's 'Gangs of New York,' 'City of God' is an open embrace." ”

Finally, the Houston Chronicle, which also scored three points, "In the slums of the City of God, like so many abandoned places in the world, babies wield their self-destructive weapons in a scorching battle, and behind them are the boring rants of politicians and the lethargy of prosecutors." ”

It can be seen that their evaluation is relatively pertinent, and they have not fallen into a frenzy like other media, and have maintained enough objectivity; But even so, the three-point evaluation still shows their attitude, and there is no doubt about the affirmation of the film, which is enough to make "City of God" stand out from the fierce competition at the Sundance Film Festival.

After reading all the comments, Lance's gaze returned to the huge "three and a half minutes" on the left, and he was deeply focused on his gaze, the nervous emotion had disappeared, replaced by a kind of eager excitement and a slow surge of confidence. Although the trajectory of the "City of God" in the previous life was completely different, now Lance has relied on his own talent and hard work to bring the "City of God" to such heights again, and the rest of the history will be written by his own hands.

Lance firmly believes that the direction of history has quietly changed, and his destiny, he is the only master!