The currently popular film 'Silent Kill' can be considered as the first hit of the summer movie season. As a low budget film, its box office performance is undoubtedly outstanding. However, with the soaring box office performance, controversy also followed. The filming techniques used in horror films to create a thrilling effect, as well as close-up shots of victims causing physical discomfort, have become the focus of criticism from netizens. Does the improper handling of certain parts reflect a deviation from the overall creative perspective? If creators consider various elements of suspense dramas as semi-finished "packages" that satisfy curiosity and add excitement, and stew them in a pot to stimulate box office, it may lead to a narrowing of the creative scope of such themes, making the advocacy of the values of punishing evil and promoting good a castle in the air. Objectively speaking, as a commercial film and a new director's work, 'Silent Kill' is commendable in terms of creative completion. The film revolves around a campus murder case that occurred in a certain location in Southeast Asia, and unfolds the story. The overall narrative is smooth, with high information density and distinct character images. From a conceptual perspective, the theme of 'silence as a bystander leads to tragedy' is also thought-provoking. As a Malaysian Chinese director, Ke Wenli actually started preparing for the first version of "Silent Kill" as early as 2018, which was also his debut feature film. Before the film was really finished, the open film and television industry in Chinese Mainland took the lead in opening its arms to him. He has directed the remake of the movie "Murder" and the web series "Detective Chinatown", accumulating creative experience and receiving decent commercial feedback. And this also laid a good audience foundation for him to remake this film 'Silent Kill'. At the beginning of its release, the social media trending "I enjoyed watching 'Silent Kill'" clearly demonstrated his ability to handle commercial films. However, as the audience continues to expand, the "cool film" logic of "Silent Kill" has also exposed some problems. Firstly, the high concentration of elements in suspenseful crimes. Throughout the story, elements such as campus violence, domestic violence, voyeurism, juvenile delinquency, educational corruption, and serial murders are all staged in a welfare school, with a high degree of strangeness, but also completely sacrificing authenticity, creating a "vacuum Gotham" that concocts evil in order to present it. Secondly, in scenes such as campus violence and murder, the film focuses the camera on the victims and features many painful and grotesque facial close ups. Furthermore, in order to create a tense atmosphere, the director turned to the commonly used jump scare technique in horror films, which, although effective, more or less diminished the seriousness of the subject matter during the viewing. In response to this, the director responded in an interview, hoping to gather as many aspects of society as possible from a broad perspective, and believed that "if you feel pain in the movie, it means we have succeeded" and "if 'Silent Kill' shows you a lot of evil and pain, it is actually reminding you not to be silent anymore". We acknowledge the director's advocacy of extending a helping hand to the weak, but we also need to ask - is criticizing evil necessarily only a path of reproducing evil and feeling pain? In fact, the intuitive expression of bloody and violent scenes can bring immediate pain and emotions, triggering strong sympathy for the weak and hatred towards the perpetrators. However, this only satisfies the simplest view of good and evil, and the analysis of a series of social issues is superficial, ignoring the subtle complexity of human nature and the examination of the soil and environment that breed evil. Moreover, for the recipient, it is still unknown whether witnessing violent scenes triggers imitation of violence or vigilance against the recurrence of real-life tragedies. At present, many stage and film creators have realized this issue, and therefore, in presenting the same theme, they avoid direct display of violence and instead use more subtle and indirect audio-visual methods such as symbolic imagery, which can still gain empathy from viewers and provoke reflection. Good works should be listened to in silence with thunder. Literary works aimed at the general public should also have this pursuit. (New Society)