A nude male butt is visible as lead characters search him, and find a rolled up map held between his buttocks.
There is a lot of sexual dialogue nothing extreme or graphic, it’s just constant.
There is one quite graphic sex scene early in the film. While there isn’t any nudity, the woman dressed in panties with an open shirt revealing her bra is on top of the man in a chair. There is steady movement, heavy breathing and later references in the movie dialogue to this scene.


Film review:Translated by www.rabudo-ru.com


The director of this film, David O. Russell, is a strange director. It is underestimated “now” in China and overestimated “once” in the United States. In the 1990s, he was supposed to work with Quentin to carry forward his style in the 1990s, but it was not until the 10th decade that he officially tested his works in the United States (according to dou you, the fighter, the happiness line behind the dark clouds and the American scam Trilogy), let alone after Weinstein fell, One bad film after another was rejected by people.

In my opinion, under the halo of MTC’s high score representative works, this person can only be regarded as a medium and upper level director in the American independent film industry. He has his own style and has his own gradual focus in the later stage, but in the end, there is no more innovation. He should also be popular in chong’ao and small film festivals in the United States, However, his works and creative ideas can not inspire the creation of the next generation of directors (in contrast, not to mention the former stone, the latter Quentin, and even the old Kevin Smith in the middle seems to have more influence than him, [manual dog head]) of course, he also has two brushes. In my opinion, the three kings of gold is his best work.

No wonder the war theme, after ordinary action film and deep reflection, can actually shoot an absurd feeling. Niu Bi is like “all metal shell” and Huan Kuang is like “army field hospital”, and this film also follows this path, and the director’s painstaking efforts in structure are not as good as Lao Ku, but he has really made some efforts.

The opening tone is that all excellent films follow the same rule. At the beginning of the film, the code of shooting spies, the panic of editing and the evil of photography are displayed in front of the audience. When the Yellow introduction subtitles and Sao music cross the military camp scene of American soldiers, a sense of black comedy brought by audio-visual language arises spontaneously.

Of course, those who have seen the whole film will find that the later plot is obviously slower, and more reflective dramas are added in addition to the idealized ending. In order to be too natural, on the one hand, the director set up a clue of media people and inserted this curious plot into the later hostage rescue and treasure grabbing plot. Although it was a lot of frenzy, when the audience adapted to this narrative, there would be no gap in the ending, just a gap in the play. On the other hand, at least before the milk village, we tried our best to create a real feeling of “military ruffian barracks”, without much exaggeration, but only added stylization outside the narrative in the editing. This arrangement, compared with the untrue record of the excerpt revision, is really pleasing to the eye.

Of course, later on, you will find that the later elements of the director can be found in this film. For example, although we have tried our best, it is inevitable that we are unable to do what we want in the later stage; Montage imitating the smooth mirror movement of old horse and expressing the pressure of the plot; And Woody Allen’s nagging from time to time in literary drama. (I don’t see much about American families, emmm)

In short, if you only watch one o Russell film, this one is enough.

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