那些大片依靠的都是昂贵的特效,而《泰囧》中的动作场面却与莱斯利·尼尔森电影的风格异曲同工。剧情感觉像是《宿醉2》和《飞机、火车和汽车》的翻拍。《泰囧》的剧本并非创意十足,艺术技巧也并不引人入胜,是什么让它这么火?电影圈的看客们都急于回答这个问题。
Part of the explanation is timing. The New Year’s period is when China sees its biggest blockbusters rolled out to coincide with holidays on Jan. 1 and the all-important Chinese New Year a few weeks later. Director Feng Xiaogang has been synonymous with the hesuipian, or New Year’s celebration film, offering lighthearted comedic fare like If You Are the One for family viewing over the holidays. But some of Feng’s recent works have been deadly serious. In 2010 he released Aftershock, about a pair of deadly earthquakes, and in December he released 1942, a film about wartime famine in central China. The other big release of this season, director Lu Chuan’s The Last Supper, about a power-mad Han-dynasty Emperor, is only slightly less grim. Lost in Thailand is a natural alternative for audiences looking for something a little happier, then. “This year’s hesuipianlike 1942 and The Last Supper are full of serious historical topics, and the repressed atmosphere leaves visitors feeling gloomy,” said the China Culture Daily, a state-run newspaper. “In a flash, the humor of Lost in Thailand makes viewers feel happy.”
【时代杂志评《泰囧》:低俗小片如何成为中国最大票房黑马】相关文章:
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