当国产喜剧都在用夸张的舞台化表演说段子的时候,他选择的是现实主义;当别人都热衷于大场面、大明星、大IP的噱头时,他依然扎根于叙事。导演江涛对于很多人而言仍然是一个略显生疏的名字,虽然五年前他已经凭悬疑喜剧《无底洞》令人耳目一新,今年延续前作风格的《发条城市》更是在一连串的突发事件中于嬉笑怒骂间针砭时弊。《发条城市》有时给人的感觉是宁浩式黑色犯罪喜剧的传承和发展(两者都是借各方人物对不义之财的疯狂追逐,形成令人 When domestic comedies use exaggerated stage performances to express themselves as dummies, he chooses realism; he is still rooted in narrative when others are keen on the big scenes, big celebrities, big IP gimmicks. Director Jiang Tao is still a somewhat strange name for many people. Although he has been refreshing with the suspense comedy “Bottomless Evil” five years ago, this year’s continuation of the pre-made “clockwork city” is a series of unexpected events In the middle of laughing and shouting curse shortcomings. The “clockwork city” sometimes gives the impression that the inheritance and development of Ninghao-style black crime comedies (both are based on the mad pursuit of injustice by all the characters,