Liu Tianwang's acting is beyond words. Although he has "Dark War", "Big Man Has Great Wisdom", "The Disciple", "Sister Tao", and of course "Infernal Affairs", but at his age, he is really. The one that deserves mentioning may be "Sister Peach" - the quiet performance in it is ver

Liu Tianwang’s acting is beyond words. Although

has "Dark War", "Big Guy Has Great Wisdom", " Disciple ", " Sister Tao ", and of course a set of " Infernal Affairs ", at his age, he is really. The one that deserves mentioning may be "Sister Peach" - the quiet performance in it is very similar to Aaron Kwok, who has a slightly flamboyant acting skills, the gray-haired policeman role that won the Academy Award for Best Actor in 2016. These two characters,

, contribute to the stability and balance of the film. At the same time, the stability of the two middle-aged and elderly actors is also reflected through the performances of two seniors who have been immersed in the industry for many years. A creator must have a general standard. Can you imagine that Zhang Yimou would make a movie called " Three Guns to Shoot a Case and Surprise " when he had nothing to do? This is also the basic reason why the audience expects a director or actor. The basic confidence must come from the stability of the actor.

However, Andy Lau has chosen movies such as "The Lost Orphan " and "Mr. Mr. Red Carpet " in recent years, for the reason of breakthrough; of course, he has also chosen many thrilling blockbusters that are not particularly successful. The reason for their failure is that Idol baggage. It's very general to say this. As an actor who loves his feathers very much, actually wanting to break through and still being cool are two sides of the same coin. They are one and the same thing. To put it simply, Andy Lau still has idol baggage. An entertainer who has been an idol for most of his life has some similarities with the descriptions of officials in novels such as "The Officialdom".

For example, " Crisis Route " a while ago, like many film works in the past year or two, you really can't say that it is an artistic creation, it is a long short video, or that everyone has completed a job. To be honest, Liu Tianwang's works in recent years do have more of a job-related feel. " The Wandering Earth 2" is actually the same, but it just reaped the dividends of an idea from science fiction.

Many people may want to curse. But when I have so much foreshadowing, my expectations will definitely be very low. A title like "Burning City" looks like a bad movie, but it actually produced a pretty exciting work. From "fire sequence" to "blasting countdown", the rhythm is very tight. Compared with the works of directors such as Lin Chaoxian and Qiu Litao who like to spend money to show off and completely ruined the atmosphere of making movies, "Burning City" is better. Used on the edge. In the scene, parallel sentences are not deliberately used, but tension is created through scene scheduling.

Radiation leaks. Anyone who has watched various movies, TV series and documentaries about Chernobyl knows how natural and real the tension is, just like "The Hurt Locker" or Liu Tianwang's own " The Bomb Disposal Expert" 》. The mise-en-scène is really awesome, probably the best since the " Cold War " series. The advantages and disadvantages of Hong Kong movies are small patterns. If you play well, it will be Infernal Affairs, but if you play poorly, it will be fake. When a group of handsome firefighters marched backwards from various areas, it really aroused some emotions. This is indeed a matter of scene scheduling and rhythm control. If you think about the fire-fighting movies made in recent years, they are really too concerned about whether the fire is big or the smoke is thick. Of course, "Burning City" is also a routine and has its own stereotypes, but it advances very quickly, the scene switching is very tight, and life and death are treated minimally and very restrained.

The king does not steal the show, but the firefighting is the most touching.

Andy Lau focused on being sure and concise throughout. It has to be said that when Andy Lau has fewer lines, his performance is generally better than when he has more lines. This shows that internalization is the core skill of a good actor. Of course, he finally yelled at Wang Minde: You are dead! What is particularly worth mentioning is that the cooperation between the actors from the two places is perfect. Take Andy Lau and Bai Yu as examples, they really don't skip the scenes. The only thing that is unreasonable, I feel, is the mansion of a wealthy businessman. Why should it be chosen next to a garbage dump that we know is dirty? Finally, the person who flashed past in the passenger seat of the fire truck was Tong Yao? This guest appearance is too guest-worthy.

seems far away, maybe only one step away.

The theme of the movie is like this, and so is the acting skills of King of Heaven. Actually, this movie is really not suitable to be discussed in detail. After thinking about it, it still has some staying power. It is definitely a surprise to the film market this year.(Jiang Nannan)