前半部节奏快到要飞起一气呵成所有人都如同按了加速键般一口气交待前情和现状根本不磨叽设定自然抖落过去现在线并行的部分非常好看大脑跟着高速运转没有喘息机会肾上腺素一波接一波跟着嗨就是了观塘元朗天水围庙街熟悉的地名带着尘封的记忆攻击我庙街大战爽得鸡皮疙瘩起天桥洞下写满字的场景做得很好来自于生活那些墙上的大字又带着街头小报的廉价猎奇和扭曲的张力中段的真相揭晓真让人心底一凉但后段冗长无厘头的血浆爆炸杀戮就泄气了银幕上在砰砰砰观众在哈哈哈心里一片空heart to heart 韩剧也是复联之后难得的观影体验boss大开杀戒时单薄僵硬得如同脸上的医美痕迹一般反复交待正邪一体、深渊即我也是直白又无趣太拙了对了观影时阿sa脱衣露出一身伤疤时后排观众不知怎么在疯狂呕吐一声又一声狂吐不止4d沉浸式体验了
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标准的商战剧heart to heart 韩剧没有过多的感情线可能初期会感到沉闷马夫、贫民、公主都曾春风得意也都曾一败涂地其实制定规则的不是崔东诚但在这样的规则下想要王冠的马夫和贫民和不想要王冠的公主到最后所有人都进不了天堂
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The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière