Brief comments: As the second theatrical version of the debut of the 14th goal in the play mode is significantly more mature, the film with a multi-target serial murder to gradually develop the plot, the story is not only more continuous and complete than the previous work, but also more dense and diverse mystery elements, more like a traditional mystery film. However, due to the increased volume and complexity of the story, the logic of the work is not as rigorous as that of the previous work, and the excessive dilution of action elements also makes the theatrical version look less enjoyable.
After fumbling with the first film, the 14th goal found the story pattern that the theatrical version should have. The film itself is a complete and continuous long story, and from the beginning to the end is full of intensive mystery plot and elements, is completely a long mystery film. This film case is a combination of classic ABC and Blizzard Mountain two modes, in the design is very innovative. In the second act, the continuous and frequent crimes made people very nervous. In the second half, the related characters were gathered together to enter the Blizzard Mountain mode, which pushed the tension to the peak. It can be said that the second theatrical version is better than the previous one in terms of atmosphere construction and criminal method design.
Another thing that stands out about the play is that it dares to break the bounds of the original work. Detonating the Skyscraper is a work completely based on Conan’s world view and character background, while the fourteen goals have improved the role background and personal setting of Comoro Maori. This approach of supplementing the original content with the original is very bold, and also allows this work and the future theatrical version to have a larger and more flexible creative space.
However, due to the increased complexity of the drama, the logic of the film is not as rigorous as that of the previous film. There are some flaws in the plot, such as the judgment of the two potential victim’s No. 10 and the murder motive of the prisoner, but the most serious part is the link that refers to the prisoner in the later part. No matter how deliberate the reasoning is, the murderer could have found and disposed of the evidence during the period from the evidence to the testimony. Therefore, it is not rigorous to testify the murderer based on this evidence. In addition, knowing that the murderer has a bomb in the case also with “sleeping small five Lang” way to testify the murderer is not logical, so to do is equal to the rapid uniform of the murderer’s anesthetic needle and small five Lang these two double insurance all to abandon, even if it is successful to let the murderer confess also cannot be arrested for the first time, it can be said that the link directly let the whole movie at a stroke.
Personally, I don’t think the movie would have made such a mistake based on the previous performance. The reason is probably that the part that reveals the murderer is deliberately saved for the third act, rather than at the end of the second act as in the previous film. On the one hand, this is to avoid too much repetition of the two theatrical versions of the play mode, and on the other hand, it is to try to fit in with Conan’s original crime solving process. However, it is still unreasonable to use “sleeping Koror” to solve the case. In view of the situation at that time and the way of the original work, it is more appropriate to solve the case through Conan guiding Ngoro, which is not only safer, but also closer to the original work. In the cases closely related to Ngoro in the original work, the author always tries to let Conan guide Ngoro to solve the cases, or simply let Ngoro solve the cases independently, so as to further improve and shape the role of Ngoro. The film has a well-designed criminal method and two different modes of crime at the same time, there is such a perverse link of evidence, really feel very incredible.
Separately, there is a dark line in the film as in the previous film. The difference is that the dark line in the film is the introduction to the case rather than an independent story or emotional line, which is better designed than the previous film. But it’s a pity that the closing at the end is more like a series of coincidences, with a heavy trace, not as impressive as the previous film’s choreography.
Another regrettable aspect of the film is that the director plays down the action elements too much, making the film look less enjoyable than its predecessor. In contrast to the chase scene, the big bang and the collapse of the building, the explosion of the skyscraper is a completely Hollywood treatment, exaggerated, grand and exciting. The 14 goals are more like a continuation of Conan TV, with the shortest possible scenes and close-ups. This treatment is likely to prevent these content appear to dominate the situation, after all, the previous work of the demolition case and this work of serial murder in essence is different. However, in my opinion, one of the major advantages of the film is that it has a higher standard of production and better audio-visual enjoyment. Deliberately reducing and diluting these contents is equivalent to wasting its own characteristics.
In general, the 14 goals are undoubtedly more mature and improved in the play, and the screenwriters also have more mature and changeable ideas in the production of big movies. However, the defects and regression in details and logic are also obvious, and the action scenes are treated differently, so it is not as neat as the previous works. But overall, Fourteen Goals is a wonderful, watchable theatrical version that retains its essence while breaking free from the original.
