There are many guest stars in this drama, such as Tony Leung Ka Fai, who plays the traffic policeman, and Wu Junru, who plays the trafficker. In contrast, Wu Junru's performance is the best, because she has few lines and few appearances, which makes people exaggerate her makeup and believe in her role. Because the film is based on a true story, I can't be too moved. If Andy Lau's role can be changed to a Cantonese, his lines will be solved naturally. So, we can only see this one now. An Anhui farmer who speaks Gangpu language met a Fujian child who speaks Beijing dialect and a traffic policeman who also speaks Gangpu language on the highway in China mountainous area ... On the same theme, Dear tells a complete story, and every plot and emotional promotion are solid, reliable and effective, with a high degree of fit between characters and background, while Lonely Lost has only settings and no story. To some extent, this film has never started and never ended. It lacks the most basic sense of substitution, but at several necessary nodes, it forced people to cry through the crying of actors. This is annoying. Generally speaking, it is more like a landscape film. The photography and art of "Lonely Lost" are excellent, and some scenes and prospects in the middle are amazing. The green and flowing water fills the eyes, effectively eliminating the rough parts of the mountain village scene in Chinese mainland. In the lens, people often think that this film was shot in Taiwan Province Province or Japan. As the film itself, the story is almost completely missing. I really can't understand why the famous screenwriter Peng Sanyuan wrote such a movie with no story at all. There are too many excellent father-son/father-son settings, which are also the settings for father and son to go on the road. The famous Nebraska doesn't have a huge number of stories, but every search and every loss has responded and promoted the emotional progress of the two characters. The final solution also shows something, so it is excellent. But what about loneliness? Only by the inexplicable emotional outburst, the two characters were completely bonded by the screenwriter. Let's take a closer look at why the stories and emotional lines of these two characters make us feel so awkward and wrong. Andy Lau and Jing Bo Ran met because of a car accident. The latter helped the former to repair the motorcycle, and the two became familiar with each other bit by bit. After repairing the car, according to common sense, the two either break up or go on the road together to find their loved ones. But the screenwriter arranged for them to be apart for a while. Then, Andy Lau failed to find a relative, was beaten up, stumbled and dragged his broken motorcycle to the seaside. At this moment, Jing Bo descended like an angel. Then, the two wrestled, and then suddenly made up, feeling by going up one flight of stairs. We understand that Andy Lau insisted on repairing the car to show that he didn't give up hope, while Jing Boran told him that his motorcycle was completely scrapped because he didn't want to see him destroy himself. However, as a screenwriter and director, you can't arrange such an impossible meeting scene for two people to meet again. Andy Lau dragged a broken motorcycle from the sea and rubbed it on the beach. Is it Jing Bo Ran who is summoned by the spirit? Before this, the emotional line between them had already ended, so the two met almost by chance. Even with a special emotional background, it is impossible for them to burst into such extreme emotions when they meet again, which is unreasonable. China's films' contempt for common sense leads to disastrous narration again and again. Well, it's an emotional proliferation. Looking back, two people were on the road together, one looking for his son and the other looking for his parents. Two people who just met were so close together in the lounge chair in the bathhouse that they didn't talk face to face. Why are they still seeing each other, leg press? Teacher Peng Sanyuan may not know the aesthetic orientation of the public at present, and frame the movie with the thinking of dog blood TV series. The audience of TV series is basically Chinese aunts, and the cinema is basically 265,438+0.5 years old. These young people will say that you are letting the character ruin the base, understand? This is called cultural atmosphere background, and young people are influenced by this atmosphere. You should consider these. After that, the mood and rhythm became more out of control. When two people are working to wash someone's car, they splash water on each other to entertain themselves, making them look like a couple. This is really inappropriate, accompanied by funny music that makes faces. You want everyone to see that they regard each other as their father or son, but this expression is counterproductive. Let's not talk about anything else. This director is far from telling a good story in 90 minutes, but in a way aimed at non-aunt audiences.