Hollywood Road

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All the lights and shadows on the screen were extinguished, and the lights in the private theater turned on instantly. Roger Albert sat on the chair and slowly closed his eyes. A nurse next to him immediately picked up a towel and gently wiped his forehead. sweat on his face, and then looked at him quietly, waiting for him to open his eyes again and give an order.

Because of several surgeries, Roger Ebert is now speechless, and even rarely watches movies, and rarely writes movie reviews.

This time, Twentieth Century Fox sent a copy of the film, and he wanted to reject it, but the person who sent it said that it was a film shot by Murphy Stanton in a completely artistic way, not the previous one. A black commercial film, in the end it was hard to suppress the curiosity in my heart, and people kept the copy.

He likes Murphy Stanton's black commercial films with a strong personal style, but he has to admit that this director is too utilitarian. I plunged into the circle of commercial movies and refused to jump out.

Now that there is such a film, he really wants to see it very much.

"There is a clear gap between the top art film masters." Roger Ebert slowly opened his eyes, "But for a young director who is only in his early thirties, it is so smooth and not procrastinating. , the theme is deep but not sharp, which is rare.”

He turned to look at the nurse beside him. The nurse had been with Roger Albert for many years, and immediately understood what he meant, and told the servant, "Get your pen and paper ready!"

After speaking, she pushed Roger Albert's high-back wheelchair out of the private theater and entered the studio next to her. The servant had already placed the pen and manuscript paper on Roger Albert's special desk.

The nurse pushed Roger Ebert to the front of the desk, quieting the surroundings, and then stepped aside.

Roger Albert picked up the familiar pen, closed his eyes and thought for a while, and the tip of the pen slowly landed on the manuscript paper.

"Murphy Stanton and his new film plunge headlong into the chaos of the 80s and 90s in Los Angeles, with the furious energy of lead man Diego Ross churning!"

"Diego Ross, a film that seems tense, frightening, and fraught for its characters, announces the rebirth of a director of great talent and passion: Murphy Stanton sets out to explore cinema The origin of art! Some people around me have compared "Diego Ross" to Martin Scorsese's "Tale of Thieves", and it deserves the comparison. At the beginning of "Tale of Thieves", narrator Says he's been wanting to be a gangster for as long as he can remember. And the lead man in "Diego Ross" doesn't seem to have anything else to do."

"The film is adapted from the real experience of Los Angeles drug lord Diego Ross. Murphy Stanton himself grew up in the slums of Los Angeles, and later escaped through his own efforts, which ensures that the story has an authentic basis. After watching this video, you may wonder, is this really what happened in America? But as far as I know, some parts of this civilized country are more chaotic and dark than what Murphy Stanton described. This The accelerating social fragmentation of the nation has made violent crime a trivial matter in some areas."

"Although the story of the film always revolves around one character, and there is only one main line, the director has a way to express these very cleverly through the lens in a gentle narrative rhythm. Every long shot, character and scene has the finishing touch. , Every shot is so scheming that I wonder how many times he has thought about it back and forth, removing the chaff and saving the chaff, plus a unified style. The cold, dark and depressing from the beginning to the end fully demonstrates the struggle of human nature. "

"In some shots, Murphy Stanton borrowed shooting techniques that are rarely involved in documentary films, such as track zoom, high-speed flash and sudden freeze, etc. What is more shocking than the visual image is the film's understanding of the harsh living environment. A direct portrayal of the influence exerted on a person.

"

"Diego Ross isn't quite as intense as Murphy Stanton's past film noirs in terms of real violence, but the film's vibe is much more chilling, and the hero's environment feels unnatural. To any hope, Murphy-Stanton neither exploits nor despises the people who live in those places whose stories are rarely told, plots for false effect, contains no Silly, reassuring love story line; it just looks at what it knows, with passionate, understanding eyes."

Although the film puts too much emphasis on the negative influence of the environment on the male protagonist, Roger Ebert thinks these are harmless, because the influence of the environment on people is indeed profound, and it does not really exist just because you think it does not exist.

Lifting the pen, Roger Ebert closed his eyes again, thought for about half a minute, and then opened his eyes to give the final score.

Out of five stars, he gave "Diego Ross" four and a half stars, and he deliberately gave a thumbs up to the film review published in the final note!

Early the next morning, this film review appeared on Roger Ebert's column on the Internet and the "Chicago Sun" at the same time, and it immediately attracted the attention of quite a few people.

Especially in recent years, he seldom writes a film review specifically for a film.

At this time when the awards season has already started, the praise of Roger Ebert and some professional film critics undoubtedly gave "Diego Ross" more capital in the awards season.

Except for these film critics, the next day's paper media also praised the film.

"Murphy Stanton has composed a very excellent film with superb editing, rich plot, and appropriate soundtrack. What is even more shocking is that this film is based on a true story!"

The Hollywood Reporter

"A shocking movie. Yes, the impact of this movie is hard to describe in words. First of all, the director's level is very high, the shooting techniques and editing methods are quite avant-garde, and the soundtrack is also in line with the theme. Huge contrast effect, the more cruel the story, the more unrestrained the music, the slums of Los Angeles in the 1980s and 1990s, the place closest to hell in the world, the movie truly restored everything that happened in that era."

Los Angeles Times

"Realistic, shocking, describing a disgraceful bloody legend."

"California Independent"

"Editing, photography, soundtrack... Murphy Stanton's use of technology is close to perfection, the narrative technique is smooth and meticulous, and the story itself is real and cruel."

San Francisco Chronicle

"It's a very real movie, letting people know that there is still such a dark, dirty, violent and crime-filled place in America. It is a movie worth recommending."

The New York Post

"Stunning! Shocking! Some clips can be used as audio-visual analysis models! The environment determines the fate! Murphy Stanton can make the film so cruel and artistic!"

The New Yorker

"The media evaluation of the film is very good. 85% of the 76 media included in Rotten Tomatoes gave it a favorable score, and the authoritative media comprehensively evaluated the 43 media included in MetaCriti with an average score of 82."

The noon sun fell on the garden, and Murphy sat on the wicker chair, looking at the newly replaced blooming bird of paradise in the garden, and listening to the data report from Kara Firth on the phone, "Now many mainstream The media all believe that the film is expected to win nominations or awards at this year's Oscars."

"That still needs our efforts." Murphy knew this very well.

Kara Firth said on the phone again, "But the audience's evaluation is relatively average, you need to pay attention."

Murphy nodded slightly, "I know."

This morning, he saw the data in this regard. According to CinemaSore's public ratings for several test screenings, "Diego Ross" scored only "A-".

For a film that was only screened in a small range, such a score is not particularly ideal.

Murphy also knew the reason. Most of the people who went to see some screenings were his fans. Who were his fans? I'm afraid I'm used to fast-paced commercial productions. For such a flat narrative film, it's not unreasonable to be unsatisfied, but it is inevitable that some do not meet expectations.

Fortunately, this film is not for commercial and market purposes.

"I've already had people guide the word-of-mouth in the market." Murphy had already informed Bill Rossis to organize his black fans to dispatch appropriately. He changed the subject, "Is there any movement on the Catholic side?"

"No." Kara Firth said with certainty, "Currently, 20th Century Fox has not received any notice or protest about the situation."

"Is there anything I need to do?" she asked.

"Don't worry." Murphy thought for a while, then said into the microphone, "Let's wait."

After all, the film was only screened on a small scale, and the media did not focus on this aspect. It is normal that the other party did not respond.

Just when Murphy hung up on Karla Firth, in an unremarkable office building in Santa Monica, Father Marquez Costello had just received a notice from his subordinates.

"You mean..." He looked at the young pastor across the way, "This movie clearly mentions Christianity and the Catholic faith can easily lead people astray?"

The young pastor nodded, "Yes! You told me that I should pay attention to this movie in time. I went to the theater this morning, and the description of our church was very bad, far surpassing the previous years. Childish Suspicious Cloud"!"

Father Marquez Costello stood up, walked back and forth twice, and ordered, "In my name, call 20th Century Fox and Murphy Stanton. I want to see them as soon as possible!"

"OK!"

Just as the pastor was about to leave, Father Marquez Costello stopped him, "Prepare your casual clothes and movie tickets, I'll go and watch this movie first!"