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There was a saying in the place where Murphy lived that there were worlds where there were people, and the professional critic circle was no exception. Roger Albert's influence among critics with the title of Pulitzer Prize winner is indeed unparalleled, but it does not mean that other critics will act according to his face, just as Roger Albert looks down on some movies, and Kenneth Tulane also looks down on Roger Albert.

The dispute between the two people sounded from different ideas, and such differences were the most difficult to eliminate. Many people in the vestibule looked at them with attention, while Murphy followed Bill Roses's opinions and stayed away from them.

He has no need to agree or oppose either party, nor has he any need to participate in it.

"They are so old,"

I don’t know when Gal Gadot returned to Murphy, “I’m still so angry!”

"The two have different ideas, but they insist on their own opinions," Murphy turned his head and looked at her, "I always have to make a lot of money."

Gal Gadot's eyes turned, "Who do you agree with?"

"No one agrees!" Murphy answered without hesitation.

"No position." Gal Gadot blurted out.

"It's not that I don't have a position," Murphy looked at Kenneth Tulan and Roger Albert, who were still thrillingly debating. "It's my point of view and position that are different from them."

Gal Gadot immediately asked curiously, "What is your point of view?"

"I'll tell you again in the future," Murphy looked at the watch, reached out and pulled one of Gal Gadot's hands, "Let's go to the cinema."

"Hey, what are you going to do?"

While speaking, Gal Gadot struggled out his hand. Seeing someone around him looking over, he raised his hand and held his arm. Murphy shook his head slightly and took her into the theater.

Due to the concerns between Roger Albert and Kenneth Tulane, Murphy was the one who came in late in the crew. When he walked to the front row, Robert Downey Jr., James Franco, Seth Logan, Jonah Hill, Jessica Simpson and Jessica Alba were all here.

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

"This..." Gal Gadot looked around and was 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, and others also have companions."

Gal Gadot turned his head and looked at it. It was indeed as Murphy said. Jessica Simpson and Robert Downey Jr. were sitting next to each other with male and female companions.

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

As soon as Murphy sat down, James Franco next to him came over, his voice pressing very low, "It's very fast, have you succeeded?"

Pretending to not hear James Franko's words, Murphy pointed to the big screen, "Don't talk, the screening is about to begin."

Sitting among so many people, especially when curious eyes looked at each other, Gal Gadot was a little uncomfortable.

Murphy patted her arm gently, and Gal Gadot turned his head and smiled. For some reason, when he saw the careful expression on Murphy's face, his heart suddenly calmed down.

Outside the cinema, after Harvey Weinstein intervened at the right time, the debate between Roger Albert and Kenneth Tulan had ended and he also walked into the cinema.

Afraid that the two of them would quarrel again, Harvey Weinstein specially asked the two guys to sit far apart, and Roger Albert happened to sit next to Jennifer Mona.

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

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

Speaking of this, the theater suddenly darkened, the big screen lighted up, the screening officially began, and everyone in the discussion ended the conversation, focusing all their attention on the big screen.

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

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

At first glance, it looks like an old 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 forgot the reporter next to him, and his strong personal style was drawn soaring into the sky. In his eyes, it was even more comfortable than eating an ice cream under the scorching sun in Los Angeles!

He has read comics, and comics are in this style, but how can the comics be compared with movies? Under the strong contrast of the screen, comics are simply turned into slap...

Indeed, Frank Miller gave "Sin City" the soul, but Roger Albert knew that movies were not comics. No matter how good a comic was, it required the director to have a deep foundation, let alone such a comic.

It is obvious that Murphy Stanton not only reproduces the style of the comics, but also makes the unique style of the comics more unique and fiery. If the original comics feel comfortable like the winter sun in New York, then the current movies are simply the sunshine of Los Angeles in June, which no one can ignore!

The film begins with Hardy, played by Robert Downey Jr., going to rescue Nancy, because Sienna Miller and James Franco play important roles in the main film, Murphy did not put the experimental short film shot into the main film of the film.

Quentin Tarantino accompanied Harvey Weinstein and watched this video with an extremely strong personal style like his own. When he saw Nancy, the stripper, appearing, he couldn't help but feel a burst of admiration.

"Murphy is so good at playing. The video is indeed in the style of a comic, but it contains the director's distinctive personal philosophy."

He continued to read and found that Murphy was indeed shooting the film with comics as the blueprint and tone, and he basically followed the style of the comics, but he used the cameras to make it more intuitive and exciting than Frank Miller's comics.

Until now, the story scenes are basically based on three levels of black, white and gray.

To enhance 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 just to allow the audience to clearly distinguish the dead black, thereby shaping this dark and sinful city.

The only colorful scene in the whole film appears at the end of the story "Sniper" where girls in the old city stand on high buildings and raise guns to massacre the invading thugs in the streets.

At this moment, black, white and gray dominate the big screen as usual, while the sky behind the girl was dyed blood red with lightning flashes.

This dark red night sky suitably contrasts the bloody streets on the ground, metaphorizing the joy and tragicity of the massacre.

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

Todd McCarthy wrote this paragraph in his pen in his notebook.

He recalls violent aesthetics from this movie.

The mainstream values ​​of positive and goodness are the guiding light for the strong development of human society. They allow living lives to gain priceless freedom under the moral constraints of truth, goodness and beauty; and the audience's psychological endurance bottom line determines the realistic level of bloody and violent shots in the movie and the expression of aesthetic art. These two are related and work together to outline the red line for the visual forbidden zone of violent aesthetic films.

Appreciating the violent beauty of the movie and gaining a stimulating aesthetic experience reflects people's desire for spiritual freedom, but Todd McCarthy knows that it must never override the mainstream values ​​of society and cannot get involved in the visual forbidden zone of violent aesthetics.

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

This film seems violent and bloody. The young director obviously knows how to restrain and control it. He does not simply pursue sensory stimulation, but surpasses the psychological bottom line of the public.

Even though those paranoid realistic and bloody violent scenes will bring a strong visual experience, they will definitely cause people to feel disgusting and guilty.

Such films promote extreme violence that are naked, which is a disregard for life and a blasphemy of freedom. It has no aesthetic sense to speak of, making it difficult for the audience to accept, and will eventually become visual pollution.

"City of Sin" is definitely not among the ranks. Director Murphy Stanton's handling of violent scenes is extremely clever, making violence and aesthetics almost perfectly integrated.

The screening is approaching its end. Todd McCarthy has confirmed that Murphy Stanton not only reproduces Frank Miller's classic comics on the screen, but also pushes forward a lot of the combination of strong personal style and violence and aesthetics based on the comics!

On the other hand, Kenneth Toulan suddenly laughed because he found that Murphy Stanton was definitely not the director Roger Albert's mouth who would stick to his personal style. This film is like his previous works. It is indeed a strong personal style, but the concepts reflected in many of the scenes are not difficult to find that this independent director is quietly moving towards the mainstream film circle.

The high-speed slow motion showing off skills, the carefully designed action scenes, the beautiful and sexy female characters...

There are too many necessary scenes for Hollywood blockbuster movies, and the original comics do not have them.

If such a director would be a director who sticks to independent films and personal style, Kenneth Tulan would rather believe that God will come to the world tomorrow.
Chapter completed!