Half of the time of the film has passed without realizing it. Roger Albert has already had the most intuitive feeling of the film. In addition to maintaining a fast pace of thrilling and exciting, "Battle of the Deadly Island" also has more distinctive features that "Speed ​​of Life and Death" does not have - gorgeous and complex lens language and color use!

Few movies can apply the shots to a gorgeous level, improving the scene scheduling and storyline to such an aesthetic level.

Generally speaking, the lens language dare not be too prominent, too much, or too much, because they are afraid of becoming a pure visual movie or MV movie. Most directors, the lens language will eventually give way to performance and story transmission.

But in Roger Albert's view, every shot and every scene in "Brave the Deadly Island" is a gorgeous picture similar to advertisements and mvs like textbooks.

The high-speed slow motion at the beginning, those close-ups of the scenes, and those strong backlight shots in the rain are simply luxury advertisements with strong colors, but they are full of tension. Ed Harris's anger and military temperament can be demonstrated by the camera alone.

No one dares to expand the gorgeous advertising image into the entire movie!

Even if there is, it is a failure in Roger Albert's memory.

Even if he doesn't like a movie like "Breaking into the Deadly Island", Roger Albert has to admit that this movie is definitely not among the ranks of failure.

If Duke Rosenberg's "The Speed ​​of Life and Death" is just a test, then "Breaking into the Deadly Island" can be said to be a brilliant success!

"All the close-ups, the medium shots, are gorgeous shots."

This short, fat and glasses critic, with a calm face, but in his heart, "Duke Rosenberg's completely unrestrained lens language can even create stories and characters so intensely. This is surprising. In terms of narrative ability and picture use, it has made great progress compared to "The Speed ​​of Life and Death".

Suddenly, a shocking explosion sound came from all directions, and orange-red flames rose on the screen. The flames were thick and dazzling. Against the backdrop of high-speed slow motion, they slowly turned into a striking mushroom cloud, bright as if they could penetrate people's eyes.

The camera is raised, and the entire Alcatraz and even the entire San Francisco Bay seem to be trembling in an explosion...

The explosion also interrupted Roger Albert's thinking. Looking at the screen, he heard the continuous cheers of the fan area behind him, and his eyebrows were frowning together, and his favor for the film was gradually dissipating.

Movies are an elegant art. Such vulgar scenes are really unpleasant. What kind of explosion is this in the film?

Roger Albert really can't remember it, but he is convinced that if Duke Rosenberg can restrain his desire to destruction, and the lens language and narrative ability continue to improve, he will likely become a master of visual and storytelling in the future, otherwise...

Finally, Roger Albert shook his head slowly. In fact, the two movies were enough to reflect the director's characteristics, Duke, completely overwhelmed the pursuit of art.

"Playing with explosions and scenes is simply his instinct, and it is also his only excitement!"

As a professional who has watched "The Speed ​​of Life and Death" and "The Island of Death", Roger Albert quickly came to this conclusion.

Compared to Roger Albert, Kenneth Tulan next to him devoted more attention to the shooting and production techniques of the film.

He could see that Duke Rosenberg was thinking about the use of light in the filming of the whole film. Almost all scenes were artificially lit, thickened and thickened, which well set off the heavy tone of the film.

At the beginning, General Hanmo went to the cemetery for a play. The heavy rain and dark blue tones, coupled with a deep and thick monologue, clearly pointing out the theme of the film.

The mid-season car chase scene between Gusby and Mason is another use of lenses. In the whole scene, there are basically no shots that exceed 5 seconds or more. All shots are almost between 2 seconds and 3 seconds. The lens settings are diverse. In addition to the absence of down shots, follow, parallel, and face, and even tie a camera to the front of the car driven by Gusby and Mason. The whole scene is dazzling and highly excited.

Unlike Hollywood's car chase scenes that use post-production technology to modify, Duke Rosenberg's car scene style is obviously real shots, the sound of the engine is clear and audible, and the metal twisting sound when the vehicle hits is quite real!

"The car chase scene in "Brave the Deadly Island" completely exceeds "Life and Death"!"

Kenneth Tulan wrote this sentence in his record book.

Josman from Emperor Entertainment Group and his review team focused their attention on the selling points of the film. As for whether the film is vulgar or elegant, it is completely out of the scope of consideration of the theaters. They only have one standard for judging the film - whether it can bring benefits.

"This is a perfect masterpiece, and the entertainment and thrilling film is by no means inferior to "The Speed ​​of Life and Death".

While watching the video, Josman recorded his first impression of the video in his notebook.

"There is no minute in the film that makes people go to the bathroom, drink water, and eat. From the beginning of the movie, their eyes will only stare at the screen and cannot put down every scene."

"It's extremely attractive, I want to be nervous, there are crazy car chase scenes; I want to think about the theme of 'Whether the country should treat individuals who have made sacrifices for it'; I want to entertain, and the humorous dialogue interspersed with real life atmosphere; I want to see the beauty, and there are two super large vases of Gusby's fiancée and Mason's daughter..."

"Brave the Deadly Island" is coming to an end, and Josman finally wrote in a summary style.

"This is the best man's drama I have ever seen this year. The whole film has a masculine style and a deep atmosphere. There is no heroine in the whole film, and it is completely a man's drama. It is almost 10-, and the action scenes are large in scale but not out of control, the time is long without being delayed, the expression style is diverse and technically accurate..."

Since the ending subtitles have not been added, the ending of the film seems a bit abrupt, and many viewers did not react until the scene on the big screen disappeared and the lights above their heads turned on. Only then did the audience in the back row wake up that a thrilling and exciting video had gone away from them.

The theater suddenly fell into silence, as if a storm was brewing.

Suddenly, applause came like a hurricane sweeping across Louisiana, and it was so warm that it was so eager to lift the ceiling of the theater, accompanied by the cheers of many people...

"I will definitely watch it again after the film is officially released!"

The observers of Warner Bros. sitting among the fans carefully recorded the most authentic words and reactions of the audience around them.

"I've been staring at my eyes and I'm just feeling tired now, but this kind of fatigue is really satisfying."

"It's good to choose the actor. Christopher Lee's Mason is handsome and cool. I think that scandalous Sean Connery definitely can't do that."

The audience, who were talking, walked out of the theater one by one and handed the questionnaire in their hands to the Warner staff at the exit.

“a+!”

“a+!”

“a!”

“…”

These eye-catching ratings have made Warner staff excited. If the audience's reputation is overwhelming, it means it is likely to sell well. Those who directly participate in this project will have a generous bonus.

The exit is also recycling and counting questionnaires. On the other hand, a large number of film critics and media reporters have already walked into the banquet hall of a nearby hotel. Several starring actors from the crew went to the room upstairs for interviews with reporters. Duke, accompanied by Robin Grande, wandered among the film critics in the banquet hall.

With the addition of several top film critics, this can be said to be the top re in the film industry.

To put it bluntly, this is nothing more than a public relations party. "Brave the Deadly Island" is a typical commercial production. Neither Duke nor Warner Bros. are stupid enough to solicit critics' opinions on such summer popcorn films, nor will they foolishly ask critics about their views on the future market and box office of the film.

Everyone knows that professional film critics are separated from the mass market. Without being influenced by public relations, in order to highlight their artistic cultivation and unique taste, the film critics group always oppose whatever the public likes. They don’t like to see what the public doesn’t like to see, but they praise and support them.

In their eyes, the public must be vulgar, and the unique ones are elegant.

Even the stupidest film company in Hollywood will not find a group of people who are completely out of the mass film market and have no tastes in line with mainstream audiences to estimate the market prospects of summer films.

If a summer film really follows the expectations and suggestions of the critics, there is only one way to fail in box office and business.

Duke is very clear about this, and Warner, who has a deep foundation, is also very clear about finding a film critic that is just to speak out and encourage publicity. To make suggestions and estimate the market, it requires highly professional professional qualities. Film critics obviously do not have such qualities.

What best demonstrates the influence of the critics is the film that went straight to various awards from the Academy during the awards ceremony.

"Director Rosenberg..."

When Duke walked to a middle-aged man with slightly bald and glasses, the other party stretched out his hand. Duke hurriedly held it and showed the most appropriate smile, "Duke, just call me Duke."

"Okay, Duke. You can call me Kenneth too."

Both native Los Angeles and Jewish people, Kenneth Tulane's impression of Duke is obviously OK, and his words are quite reasonable. "There are still some problems with the narrative details and logical structure of the film, but I have seen your progress from it. Compared with the previous film, you have significantly improved in the camera language, color use, emotional conflicts, and other links of handling."

"Thanks!"

The other party released kindness, and Duke also brought sincerity to what he said.

“Hi, Duke.”

Charles Rowan and a middle-aged man with glasses came over and introduced Duke, "This is Mr. Roger Albert..."

(The new week has begun. Please give me some recommendation tickets. The more you collect, the better. Thank you!)
Chapter completed!