Special feature of 1905 film network On January 25th, 2020 (New Year’s Day), the Spring Festival movie directed by Xú Zhēng met the audience as scheduled in the form of free online viewing. This is also the first domestic blockbuster that premiered on the online cooperation platform without landing in the cinema, which is a new phenomenon in the domestic film industry.
Lost in Russia is the third "Embarrassing" film series released by Xu Zheng after "Embarrassing in Thailand". This time, the story is set on a train going to Russia. The big boss Xu Yiwan (played by Xú Zhēng) and his mother (played by Huang Meiying) are constantly in conflict during the journey, and at the same time, he has to deal with the business competition relationship with his divorced wife (played by Yolanda), and the crisis of middle-aged men is imminent.
At present, the film is divided into 6.5 in Douban, but what do the editors of 1905 Film Network think of this comedy that reflects family relations? Let’s take a look at their comments.
North wind: 8 points
As the third work in the "Embarrassing Series", Lost in Russia has maintained a certain level of production, and it is a commercial work above the standard. The discussion on the relationship between mother and child in the family has a certain social topic, which makes it easier for the audience to discuss and empathize.
In the story structure, the expression of the main line affection and the branch line love is relatively complete. The jokes and baggage of the film were handled in a proper way, which failed to create more surprises for the audience. As a comedy, the film and the atmosphere of the Spring Festival file complement each other and have certain advantages.
Y.Q：6.5 points
Although Lost in Russia’s film is in a dilemma, it focuses more on the relationship between mother and child, marriage and family. Under the cultural background of China, this kind of emotional collision may exist in every family. In the film, Xu Yiwan didn’t understand each other with his divorced wife at first, and quarreled with his mother. Later, the mother and son were deeply in love and they no longer tortured each other. The whole film is full of laughter and tears, and each character has certain growth.
In the mother-son duet, the mother’s bombing of the 60-second voice phalanx, sharing the knowledge of WeChat WeChat official account, and going out to pack a lot of things ….. all make people feel the same. There are many conflicts between mother and son in ideas, living habits and personalities. The relatively closed environment of the train makes them constantly rub, which makes the audience see the accumulation of their contradictions, and finally breaks out completely when talking about the reasons for Ivan’s father’s death. When Ivan looked for his mother to apologize like a child who did something wrong, the in-depth conversation between mother and son also made them realize that love is not to control and take.
However, as far as comedy movies are concerned, the writers’ design of the punchline is still at a new stage, which makes people wonder that it is a remake of the old work by Bao Yu, and the routine of "A Long Way to Hong Kong" and Lost in Russia’s train-picking at the beginning have changed.
Silk doll: 6 points
The Russian plot of the previous generation and the theme of mother-child relationship are discussed. From these two aspects, there is no doubt that the third part of Xú Zhēng’s "embarrassing series" has a happy family face.
However, Xú Zhēng has been labeled as a "middle-aged crisis" since "Long Away from Hong Kong". In dealing with the relationship and interaction between characters, Lost in Russia intentionally or unintentionally tore off this label. The younger interaction between mother and son, and the rationality of husband and wife’s view of each other’s feelings, Xú Zhēng simply started with the relationship between the two groups of characters, and used subtraction to tell a simple truth: Don’t let others become what you think.
This sentence applies to interpersonal relationships as well as this movie. In this way, it is Xú Zhēng’s consistent cunning.
Richter: Six points.
The mode of getting along with her son is real, and there are life details that resonate with the audience, but the whole movie is still subject to the high concept and strong setting of comedy creation.
Mom-me-wife, these three things should not be that you fantasize about me. I fantasize about your control relationship. Let’s take a step back. Xú Zhēng’s views on the relationship between family and marriage are so much. In the second half of the movie, there is no action to continue to explore and reflect, and the play also falls there, and the direction is stagnant.
Take pictures of bears, hot air balloons and sensational sunset red. The plot begins to move by coincidence, and the focus is shifted by action scenes. Finally, the summary statement is made in the old flashback picture. Creating with the purpose of "family fun" is a pity that it has not achieved the real "family fun" effect.
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