I'm anxious about the movie "Lotus Out of Water".

If Lotus Out of Water is judged as a film, its comprehensive score will not pass; However, if this film is regarded as Liu Zhenwei's essay, it is definitely 80 points excellent. This film has maintained the consistent standard of Liu Zhenwei in recent years. Although it will be boring to do a lot of routine movements, there will always be one or two very unconstrained paragraphs inadvertently, which makes us have to admire Bodhi Bodhi's brain is different from ordinary people. As a soft advertisement in Cheung Chau, the completion of Liu Zhenwei embodies the qualities that a professional filmmaker should have.

After three years of dormancy, the lotus fell behind Yue Guang from the water. Obviously, this thing is very bad. After the spoof of Yue Guangbao's box and the intensive bombing of the cottage, Lotus Out of the Water, which lacks both spoof and cottage, is as thin as water. The story in the first 40 minutes of the film is very rambling, and there are not many jokes, which is basically 60% off the number of jokes in traditional Hong Kong nonsense movies. What makes people feel even more annoyed is that 70% of the paragraphs in the film lack wisdom and creativity. All jokes only rely on the role to make a fool of themselves, such as making a man dress up as a delirious pseudo-mother, making four women pose strangely, making a peeping tom fall into the water, and making the originally noisy scene instantly serious and romantic. Although these paragraphs are not copied, the routines are very old after all. The appearance of Tian Liang was very surprising, but the subsequent ending was not surprising at all. You can easily guess. But why can there be such a supernatural phenomenon at the end of the game, and Tian Liang can't insist on a magical episode at all?

The difference between composition and film is that the former lacks integrity because of its strong purpose. Obviously, Liu Zhenwei just wanted to accomplish the set tasks and achieve the set goals, and didn't devote himself to every detail of the whole movie. The story of the film is extremely simple, and everyone accompanied a stubborn Gillian to complete a collective self-deception. From beginning to end, only Fang Lishen's role has changed and grown. Even Gillian, who has a lot of scenes, has nothing to see psychologically, only her appearance and making a fool of herself. As for other characters, most of them become accessories to shape the image of Cheung Chau, or stand with Cheung Chau or stand on the opposite side of Cheung Chau. The love theme repeatedly emphasized at the end of the film is also quite superficial. This "life-long" thing, in such a story that lacks drama, always seems to be inadequate. Liu Zhenwei's emotional description of this film is his "first love conjecture", which shows that "first love" is indeed the best cover-up of formalism. We are all amazed that A Chinese Odyssey can embed touching romantic love under the cloak of nonsense, but this doesn't mean that every movie in Liu Zhenwei can't be separated from love. Every time you watch a promo by Bodhi Bodhi's founder, you should emphasize that there is romantic love in the film. I think this is almost the biggest creative constraint of the bodhi old zu.

However, this film has two other purposes, and Liu Zhenwei's years of experience make it easy for him to deal with these two aspects. The first point is to show it to Cheung Chau. With the help of Peter Ngor, the director of photography, Cheung Chau in this film is very beautiful and has a clarity that metropolis does not have. In particular, the film's capture of the water surface is definitely more eye-catching than those groups of swimsuit beauties. However, the street view of Cheung Chau is a bit ... Hey ~ ~ Although I really want to go swimming in Cheung Chau and bask in the sun, I need to know where I can live! The poor environment can be regarded as local conditions and customs, but there is no normal person in this village neighborhood, and many tourists will be scared away. _ The film's description of the greatest characteristics of Changzhou people comes down to one word, which is intuitive and impressive. It's just that these characteristics of Cheung Chau people are often used as jokes. I wonder if outsiders will misunderstand them because of this. Hehe ~ ~

Another point is that the climax of the film is really high. After enduring the first 60 minutes, Liu Zhenwei made up his mind after the game started. Gillian's strange players are in frequent situations, and each one is more ridiculous than the other, which makes the whole stadium "fall apart" and makes chickens fly and dogs jump. A short passage fully embodies Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi. Just when everyone thought that this scene was out of control, Bodhi, Bodhi, Bodhi, Bodhi, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, Bodhi Tree, a swimming version of "The Great Shift of Gankun" appeared, and with great special effects, the high point of nonsense was inherited by visual stimuli. A supernatural dream ended this story that has always been a romantic story on earth. Although it is nonsense in logic, it is absolutely nonsense. Unless Liu Zhenwei works hard, we can't treat him like a raisin.

It suddenly occurred to me that the teacher taught me composition skills at school: write the beginning and end well, and the score will be 80 points. Liu Zhenwei made a beautiful opening for the film with the beautiful location of Cheung Chau, and added a stroke with a gorgeous ending with great visual effect. Such a wonderful beginning and end, the middle part is a bit rough, and it seems that it can fool many careless readers.