Film Name:報應 / 迷途追兇 / Punished / Bou ying
I watched it because of the production team, I thought it would be a very local Hong Kong film, but I was very disappointed after watching it. Crime Hong Kong film, you still need to be down to earth first to tell the story well, the action to do enough, and then go to explore human nature is not too late.
The film tries to discuss crime and punishment through a karmic retribution, and it seems that when we punish our enemies, it is more of a retribution for ourselves. The structure of the film breaks away from the clichéd “when will we ever be punished for our wrongs” formula, but the narrative and texture of the film are not enough to support Wong’s otherwise dramatic inner expression. When the film reaches its climax, Huang Qiusheng arranges a “release” scene at sea, and the Buddha has a significant effect on Huang Qiusheng’s heart. Originally, it was thought that he would have a brand-new understanding of the whole incident in this action, which would make the story take a turn for the worse, but the idea of “goodness” turns out to be the same as that of the “goodness” of the “goodness” of the “goodness” of the “goodness” of the “goodness”. But the thought of “good” turned to the idea of “evil”, which makes me quite puzzled, why the arrangement of this scene so that Huang Qiusheng killing ideas increased dramatically? After a very blunt line from Wong’s wife, “You are punishing yourself”, the original profound discussion of human nature begins to transform into simple revenge. Wong was originally an avenger with tangled emotions like Hamlet, but the film focuses less and less on his psyche, and begins to look for “suspense” points all over the world, so that the film can become climactic in the last 1/3 of the film, and deliberately complicate the relationship between the characters. Such a climax can only make people slap their arse and walk away after the high, not even leaving a single thought behind.
Huang Qiusheng’s wife, who seems to be close to the characters, is actually a big supporting character outside the network of the characters, and her presence seems to only make the film more straightforward. She’s a narrator, only a little more advanced and taken for granted by wearing a flashy jacket.
Would the killer be stupid enough to keep the video until he was captured alive after committing the murder? Can’t understand why Simon Yam could strut around with his mobile phone watching the video of Alex Man’s murder. I don’t understand why the plot of the murder of Wong’s subordinates was arranged just to show that Wong had enemies all over the place. In addition, the reason why he tore up the ticket just because “your father is mean to me” is too much to be spit out.
The whole film from the beginning to the end of the increasingly shallow trend, until the final closing of the gate and then arranged in addition to Buddhism to echo, and then “father-daughter love” “mother-daughter love” to a tearful lyric, to the audience fanned the fan, so that people watching the film feel that the cinema air conditioning is also blowing! It’s worth the price of admission.
The beginning and the end of the Bolivian soft broad contrast, beautiful two scenes jumped out of the style of the film to add a fairy tale, but no matter how to say, like those wedding ring ads, no matter you buy this ring you have to say “I DO”, and we just give “I DO” gold-plated only. But the “I DO” of “Lost” is just like those wedding ring adverts. But the “I DO” of Lost in Translation is not good enough, and the gold plating does not help either. The good thing is that the gilding is quite modest, and the ashes are scattered beautifully.
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