Hollywood Road

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There was a saying in the place where Murphy lived, where there are people, there are rivers and lakes, and the circle of professional film critics is no exception. With the title of Pulitzer Prize winner, Roger Albert really has no influence among film critics. Comparable, but it does not mean that other film critics will look at his face and act, just like Roger Albert can't look down on some movies, Kenneth Turan can't look down on Roger Albert.

The dispute between the two sounded to be due to different ideas. Such differences are the most difficult to eliminate. Many people in the front hall looked at them with interest, while Murphy followed Bill Rossis's opinions and stayed away from them.

He does not need to agree or oppose any party, nor does he need to be involved.

"They are all this old,"

I don't know when, Gal Gadot returned to Murphy, "The temper is still so aggressive!"

"The two people have different ideas, but they insist on their own opinions," Murphy turned and glanced at her. "Always make a difference."

Gal Gadot rolled his eyes, "Whose opinion do you agree with?"

"No one agrees!" Murphy answered without hesitation.

"No standpoint." Gal Gadot blurted out.

"It's not that there is no standpoint," Murphy folded his arms and looked at Kenneth Turan and Roger Albert, who were still debating excitedly. "It is my point of view and standpoint that are different from them."

Gal Gadot immediately asked curiously, "Your opinion?"

"I'll tell you later," Murphy looked at his watch, and reached out to take one of Gal Gadot's hand. "Let's go into the theater."

"Hey, what are you going to do?"

While talking, Gal Gadot pulled out his hand, saw someone around him looking over, raised his arm around his arm, Murphy shook his head impenetrably, and led her into the theater.

Because of the concern about the dispute between Roger Albert and Kenneth Turan, Murphy was the one who came in late in the crew and went to the front row. Robert Downey Jr., James Franco, Seth -Logan, Jonah Hill, Jessica Simpson and Jessica Alba are all the main cast and crew members.

Next to James Franco, there were two empty seats, and Murphy brought Gal Gadot here.

"This..." Gal Gadot looked around. They were all members of the crew. "It's not good for me to sit here."

Murphy pointed to the seat, "This is specially prepared for you. Others also bring companions."

Gal Gadot turned his head and took a look. It was indeed like Murphy said. Jessica Simpson and Robert Downey Jr. were sitting next to a male partner and a female partner.

"Thank you." Gal Gadot smiled at Murphy and sat down with Murphy.

As soon as Murphy sat down, James Franco next to him leaned in, his voice was extremely low, "Movement is fast, have you succeeded?"

Pretending not to hear James Franco's words, Murphy pointed to the big screen, "Stop talking, the screening is about to begin."

Sitting among so many people, especially with curious eyes from time to time, Gal Gadot was somewhat uncomfortable.

Murphy patted her arm gently, and Gal Gadot turned his head and smiled. For some reason, seeing the caring expression on Murphy's face suddenly calmed down in his heart.

Outside the theater, after Harvey Weinstein intervened in a timely manner, the controversy between Roger Albert and Kenneth Turan was over, and he entered the theater.

Fearing that the two would quarrel again, Harvey Weinstein specially arranged for the two guys to sit far apart, and Roger Albert was sitting next to Jennifer Mona.

"Hello, Mr. Albert." Jennifer Mona recognized him immediately, and Roger Albert asked suspiciously, "Are you?"

"Jennifer Mona, a full-time reporter for Vanity Fair."

Speaking of this, the theater suddenly darkened, the big screen was lit up, and the screening officially began. All the people in the discussion ended their conversations, and their attention was all on the big screen.

The picture is different, whether it is the color or the contrast of light and dark, it is different from the popular movies today!

In the dense dark night, a convertible was driving fast on the road, and the people in the car had eye-catching white cross scars on their foreheads...

At first glance, this looks like an old-fashioned black-and-white movie, but when you look closely, it is different from a black-and-white movie. The black in the picture is more intense and the white is more dazzling!

The moment he saw the picture, Roger Albert had forgotten the reporter next to him, and his strong personal style shot straight into the sky. In his eyes, it was almost like eating one under the scorching sun of Los Angeles. Ice cream is even more refreshing!

He has seen comics, comics are in this style, but how can the carrier of comics compare with movies? With the contrasting picture style on the screen, the comics were simply turned into scum...

Indeed, Frank Miller gave the soul of "Sin City", but Roger Albert knows that movies are not comics, and no matter how good a comic is to become a movie, it requires the director to have a solid foundation, let alone such a movie. Comics.

Obviously, Murphy Stanton not only reproduced the style of comics, but also made the unique style of comics more unique and blazing. If the original comics are as comfortable as the winter sun in New York, now 'S movie is simply the sunshine of June in Los Angeles, so no one can ignore it!

At the beginning of the film, Hardy played by Robert Downey Jr. went to rescue Nancy. Because Sienna Miller and James Franco played important roles in the film, Murphy did not take the experimental short film. Put it in the main feature of the movie.

Quentin Tarantino accompanied Harvey Weinstein and watched this film with a strong personal style like his own film. When she saw Nancy, a stripper on stage, she couldn't help it. A moment of admiration.

"This guy Murphy is so good at playing. The film screen is indeed in the style of comics, but it contains the director's distinctive personal philosophy."

He continued to look down and found that Murphy was indeed shooting this film with comics as the blueprint and keynote, and basically followed the style of comics, but it was more intuitive and exciting than Frank Miller’s comics made with the lens of the movie. .

Up to now, the story scene is basically dominated by three levels of black, white, and gray.

In order to enhance the visual stimulation, Murphy obviously weakened the important gray in the comics as much as possible and replaced it with black. Quentin is not difficult to find that the appearance of gray and white is only to allow the audience to clearly distinguish the deadly black. This shapes this dark and sinful city.

The only colorful scene in the film appears at the end of the story "Sniper". Girls in the old city stand on high buildings and raise guns to slaughter the invading thugs in the street.

At this moment, black, white and gray dominate the big screen as usual, but the sky behind the girl is dyed blood red with the flickering lightning.

The dark red night sky aptly sets off the streets where blood flows from the ground, a metaphor for the hearty and tragic massacre.

"Such an extremely conceptual color application in the story scene not only implies sharp social contradictions and fragile social order, but also reveals the simple and crude survival rules of Sin City, which is highly compatible with the violent theme of the movie."

The pen in Todd McCarthy's hand wrote such a paragraph in his notebook.

He was reminded of the violent aesthetics from this movie.

The mainstream value of being positive is the indicator of the prosperity of human society. It allows the fresh life to obtain the priceless treasure under the moral constraints of truth, goodness and beauty-freedom; and the audience's psychological endurance determines the realism of the **** and violent scenes in the movie. Degree and form of expression of aesthetic art. The two are interrelated and work together, drawing a red line for the visual forbidden zone of violent aesthetic movies.

Appreciating the violent beauty of movies and obtaining a stimulating aesthetic experience reflects people's desire for spiritual freedom, but Todd McCarthy knows that it must not override the mainstream values ​​of society, and it must not be involved in the visual forbidden zone of violent aesthetics.

It is not difficult to see from "Sin City" that excellent violent aesthetics must be based on a highly artistic visual language. Murphy Stanton uses an art form that conforms to the mainstream values ​​of society.

This film looks violent and bloody, and the young director clearly knows how to restrain and control. He does not simply pursue sensory stimulation, but goes beyond the psychological bottom line of the public.

Those paranoid, realistic, flesh-and-blood violent scenes, even if they bring a strong visual experience, will certainly make people feel sick and guilt.

Such films promote naked and extreme violence, disregard for life and blaspheme against freedom, and have no sense of beauty at all, making it difficult for the audience to accept, and will eventually become visual pollution.

"Sin City" is definitely not among the ranks. The director Murphy Stanton's handling of the violence scene is extremely clever, so that violence and aesthetics are almost perfectly blended together.

The screening is drawing to a close. Todd McCarthy has confirmed that Murphy Stanton has not only reproduced Frank Miller’s classic comics on the screen, but also combined his strong personal style and violence with aesthetics on the basis of the comics. The combination has pushed forward a lot!

On the other side, Kenneth Turan suddenly smiled because he discovered that Murphy Stanton is definitely not the kind of director Roger Albert said that insists on his personal style. This film is like his previous ones. The work is the same, and indeed has a strong personal style, but the concepts reflected in many of the scenes are not difficult to find that this independent film director is quietly moving closer to the mainstream film circle.

The high-speed slow motion showing off skills, the well-designed action scenes, the glamorous and **** female characters...

There are too many Hollywood blockbuster movies necessary, but not in the original comics.

If such a director would be a director who clings to independent films and personal style, Kenneth Turan would rather believe that God will come to the world tomorrow.

Roger Albert in the distance is different from his thoughts. The color, performance, and monologue of this film can of course also be counted as a ring structure that is not the first. It is different from any previous comics film , The application of color alone is enough to record Murphy Stanton in the annals of film history.