Even this 6.1 score is brought about by the unprincipled five-star praise from fans of traffic stars. Without the blessing of traffic fans, the film would definitely be below the passing line. As a Hong Kong film directed by Peng Shun that focuses on special effects scenes, "Crisis Line" hit both the box office and word-of-mouth, and once again slapped some clichéd Hong Kong films in the face. If Hong Kong films still "don't need screenwriters", then they may be even more slapped in the face.
Judging from the complete content of "Crisis Line", this so-called special effects blockbuster directed by a Hong Kong director has reached the point where it has nothing to do with it. It needs a story, but there is no original story, and it needs special effects, which cannot be compared to the special effects of a real blockbuster. The problem with "Crisis Line" is actually the problem with most Hong Kong films today. We have always said in the past two years that no one watches Hong Kong movies. Why doesn’t anyone watch Hong Kong movies? Here's why.
The first reason is that Hong Kong films cannot provide an effective original story. Take "Crisis Line" as an example. This movie is a line of family ties and a line of terrorists hijacking planes. Both lines are formulaic. Movie fans will know what they want to do next after watching the beginning. On the line of family ties, the father and his daughter must have reconciled. The daughter feels her father's strong love, and the family is harmonious and beautiful again. In the hijacking line, the male protagonist must have used various tricks to defeat this group of terrorists.
A routine story is equal to no story. Over the years, almost all Hong Kong films have fallen into a state of storylessness. Hong Kong movies, especially those released in theaters, give people the feeling that they don’t need a screenwriter. A large number of Hong Kong films follow past narrative shortcuts and create a routine script. Hong Kong films have all fallen into a kind of "王京 time", realizing a lot of self-repetition.
The second reason is that Hong Kong films no longer provide powerful visual effects. Earlier Hong Kong films still had special effects. Even in Hong Kong dramas produced more than 20 years ago, gun battles, car chases, martial arts, etc., all provide special effects that are still watchable. However, special effects are like psychedelic drugs. If you take them too much, you will become addicted. Special effects blockbusters are actually similar to drug movies. Give it a small dose and small special effects at the beginning, and this group of movie fans will like it. Later, I had to give more and more doses, and eventually I couldn’t afford it anymore.
In terms of current visual effects, Hong Kong films can no longer compete with many mainland blockbusters. In fact, the visual effects in many Hong Kong movies are not even comparable to some online movies. Peng Shun's "Crisis Line" becomes a sideshow in a special effects blockbuster. Hong Kong films, which made their fortune with special effects, were severely left behind by their fellow films because the special effects were not up to par.
Therefore, the problem facing most Hong Kong films is how to give movie fans a reason to go to theaters to watch Hong Kong films in the current film and television environment. The special effects are obviously out of reach. The worse the box office performance is, the less investment will be received next time. The less the investment, the less money can be spent on special effects. If Hong Kong films continue like this, they may eventually run out of money for any special effects. Peng Shun's "Crisis Line" gives people the impression that it is a blockbuster with special effects, but in fact there are no big special effects.
Original script is still possible. Many places where the film and television assembly line once thrived will fall into this routine of scripts. Not only in Hong Kong films, but also in Hollywood films, this kind of assembly-line routine has become a significant problem. At present, no one in China has watched a large number of Hollywood movies, and the reason is simple - routines and no stories.Chinese movie fans can finally have something good to eat.
Even this 6.1 score is brought about by the unprincipled five-star praise from fans of traffic stars. Without the blessing of traffic fans, the film would definitely be below the passing line. As a Hong Kong film directed by Peng Shun that focuses on special effects scenes, "Crisis Line" hit both the box office and word-of-mouth, and once again slapped some clichéd Hong Kong films in the face. If Hong Kong films still "don't need screenwriters", then they may be even more slapped in the face.
Judging from the complete content of "Crisis Line", this so-called special effects blockbuster directed by a Hong Kong director has reached the point where it has nothing to do with it. It needs a story, but there is no original story, and it needs special effects, which cannot be compared to the special effects of a real blockbuster. The problem with "Crisis Line" is actually the problem with most Hong Kong films today. We have always said in the past two years that no one watches Hong Kong movies. Why doesn’t anyone watch Hong Kong movies? Here's why.
The first reason is that Hong Kong films cannot provide an effective original story. Take "Crisis Line" as an example. This movie is a line of family ties and a line of terrorists hijacking planes. Both lines are formulaic. Movie fans will know what they want to do next after watching the beginning. On the line of family ties, the father and his daughter must have reconciled. The daughter feels her father's strong love, and the family is harmonious and beautiful again. In the hijacking line, the male protagonist must have used various tricks to defeat this group of terrorists.
A routine story is equal to no story. Over the years, almost all Hong Kong films have fallen into a state of storylessness. Hong Kong movies, especially those released in theaters, give people the feeling that they don’t need a screenwriter. A large number of Hong Kong films follow past narrative shortcuts and create a routine script. Hong Kong films have all fallen into a kind of "王京 time", realizing a lot of self-repetition.
The second reason is that Hong Kong films no longer provide powerful visual effects. Earlier Hong Kong films still had special effects. Even in Hong Kong dramas produced more than 20 years ago, gun battles, car chases, martial arts, etc., all provide special effects that are still watchable. However, special effects are like psychedelic drugs. If you take them too much, you will become addicted. Special effects blockbusters are actually similar to drug movies. Give it a small dose and small special effects at the beginning, and this group of movie fans will like it. Later, I had to give more and more doses, and eventually I couldn’t afford it anymore.
In terms of current visual effects, Hong Kong films can no longer compete with many mainland blockbusters. In fact, the visual effects in many Hong Kong movies are not even comparable to some online movies. Peng Shun's "Crisis Line" becomes a sideshow in a special effects blockbuster. Hong Kong films, which made their fortune with special effects, were severely left behind by their fellow films because the special effects were not up to par.
Therefore, the problem facing most Hong Kong films is how to give movie fans a reason to go to theaters to watch Hong Kong films in the current film and television environment. The special effects are obviously out of reach. The worse the box office performance is, the less investment will be received next time. The less the investment, the less money can be spent on special effects. If Hong Kong films continue like this, they may eventually run out of money for any special effects. Peng Shun's "Crisis Line" gives people the impression that it is a blockbuster with special effects, but in fact there are no big special effects.
Original script is still possible. Many places where the film and television assembly line once thrived will fall into this routine of scripts. Not only in Hong Kong films, but also in Hollywood films, this kind of assembly-line routine has become a significant problem. At present, no one in China has watched a large number of Hollywood movies, and the reason is simple - routines and no stories.Chinese movie fans can finally have something good to eat.(Text/Ma Qingyun)
-
-
-
-
-
-
-
-
-
-