将人置身于灾难之中，然后进行营救，具备戏份的先天性紧张、激烈。这种营救戏的看点则在于正反两方面实打实的较量。人与人对抗的营救战，如《拯救大兵瑞恩》、《逃离德黑兰》等等，都是于感官刺激上非常耀眼的。当然，也存在人与自然的营救战，如《泰坦尼克号》。这些电影，以人的死亡为达摩克利斯之剑，通过环环相扣的环节来展现人性的冲突与挣扎。从电影的可视性而言，这一类型的片子，拥有便利的先决条件。
如果说《泰坦尼克号》是以水葬的方式展示人性在死亡面前的恐怖、挣扎与超越的话，那刘青云、古天乐主演的这部电影《逃出生天》无疑是以火葬的方式承接了一个古老的电影命题。这一类型的电影，首先必须要以场面戏来还原灾难现场，通过高度地还原来展示恐怖，最终通过恐怖的死亡意识来唤醒人在生命面前的高贵品质。
在电影的场面设计与特效制作上，《逃出生天》稳扎稳打，大有逼平好莱坞同等制作经费电影的趋势。对烈火场面的还原，在一定程度上会给影迷造成窒息感。水葬悲情，火葬同样虐心。该片的最大看点便是带领影院观众进入一个烈火逃生的真实世界，虽然这个世界是以展示消防员的高大全形象为主旋律特色呈现的，但这丝毫不影响其成为中国至今为止最优秀的特效电影之一的影史地位了。
为配合紧张刺激的场面戏份更好的存在，《逃出生天》剧情在人物性格的设定上遵循了每个出场人物都带有自身特点与性格弱点的创造模式。夫妻矛盾、兄弟矛盾、金钱矛盾、利己主义的矛盾冲突等，在这场火灾中，集中于一个狭小的生存空间内呈现。在死亡面前，没有超越金钱主义、利己主义的，因为自己的错误而推动了整个剧情的向前发展，同时也造就了无法逃脱死亡的悲剧命运。
电影《逃出生天》在处理反面人物的结局命运的手法上，简练干脆，不拖泥带水。偷钻石且想着先人一步逃生的两兄弟，一个高空坠落，一个葬身火海，免于“逃生后被绳之以法”的俗套剧情。冥冥中自有惩戒的启示意义，未尝不是中国传统文化的一种影像学展现。
在正面人物的性格冲突中，夫妻矛盾和兄弟矛盾，显然让位于生存对抗死亡的矛盾。刘青云饰演的消防员角色，以个人的牺牲主义换来全体的逃离火海，我们可以苛责主旋律对高大全形象的热衷，但也不能忽略作为个人生命在死亡面前升起的侠义之心。这种牺牲精神，带来整部电影对火葬的超越，与水葬的“泰坦尼克”有异曲同工之妙。
当然，《泰坦尼克号》最终以死亡结束，用爱情来实现了生死之间的终极界限，而《逃出生天》则以未死来实现一种求生意志的坚定信念，缺少超越，但多了几分对观众在火灾面前被虐内心的抚慰。该部电影，人物性格的张力虽然不如《泰坦尼克号》，但也基本完成了对每一个出场人物的快速描摹，且应用让观众目不暇接的灾难转场，来很好地提升了平均成绩。
灾难面前，自然会反思人性，但同时也会升起人对自身创造的科学技术的一种别味警惕。泰坦尼克号因其大而亡命深海，《逃出生天》的高楼也是因其高，而很难实现救援。该部电影，借用刘青云饰演的消防员之口，说出“楼越盖越高，救援越来越难，总得有人种地，总得有人救援”的反思之语，算是很好地继承了这种对科技的反思精神。
有场面，有人性，有反思，《逃出生天》给中国的灾难电影带来一个好的开局。
英文版：
Put people in the disaster, and then rescue, with the inherent tension of drama, intense. The main point of this rescue play is the actual competition between the positive and negative aspects. The rescue battles against people, such as Saving Private Ryan and fleeing Teheran, are very dazzling in terms of sensory stimulation. Of course, there is also a rescue war between man and nature, such as Titanic. These films, taking human death as the sword of Damocles, show the conflict and struggle of human nature through the interlocking links. In terms of film visibility, this type of film has the prerequisite of convenience.
If Titanic is to show the horror, struggle and Transcendence of human nature in the face of death in the form of water burial, then the film "escape from life" starring Liu Qingyun and Gu Tianle undoubtedly inherits an ancient film proposition by cremation. This type of film, first of all, must restore the scene of disaster with scene drama, through the high degree of return to the original show terror, and finally through the horror of death consciousness to awaken the noble quality of people in front of life.
In terms of the scene design and special effects production of the film, "escape from the sky" is steady and steady, which has a tendency to close the Hollywood film with the same production funds. To a certain extent, the restoration of the fire scene will give the fans a sense of suffocation. Water burial is sad, cremation is also cruel. The biggest attraction of the film is to lead the cinema audience into a real world of fire escape. Although the world is presented with the main melody features of the high Daquan image of firefighters, this does not affect its status as one of the best special effects films in China so far.
In order to coordinate with the tense and exciting scenes, the plot of escape from life follows the creation mode of each character with its own characteristics and personality weaknesses. The contradictions between husband and wife, brothers, money and egoism are concentrated in a narrow living space in this fire. In the face of death, those who do not surpass monetarism and egoism, because of their own mistakes, promote the development of the whole plot, but also create a tragic fate that can not escape death.
In dealing with the fate of the villain, the film "escape from the sky" is concise and straightforward. Two brothers who steal diamonds and want to escape one step at a time, one falls from the sky, the other is buried in the sea of fire, and is free from the conventional plot of "being brought to justice after escaping". There is enlightenment significance of punishment in the dark, which is not a kind of imaging display of Chinese traditional culture.
In the character conflict of positive characters, the contradiction between husband and wife and brother obviously gives way to the contradiction of survival against death. Liu Qingyun plays the role of a fireman, in exchange for his personal sacrifice to escape the fire. We can censure the main melody's enthusiasm for Gao Daquan's image, but we can't ignore the chivalrous heart that rises in front of death as an individual life. This spirit of sacrifice brings the whole film's Transcendence over cremation, which is similar to the "Titanic" of water burial.
Of course, "Titanic" finally ended with death and realized the ultimate boundary between life and death with love, while "escape from life" realized a firm belief in the will to survive by not dying, which lacks transcendence, but it gives more comfort to the audience who are abused in front of the fire. Although the tension of characters in this film is not as strong as that in Titanic, it also basically completes the rapid description of each character on the stage, and uses the disaster transition that makes the audience dazzled to improve the average score.
In the face of disasters, it is natural to reflect on human nature, but at the same time, people will be alert to the science and technology created by themselves. Titanic died in the deep sea because of its size, and the tall building of escape from the sky is also because of its height, and it is difficult to achieve rescue. This film, borrowing from the words of the fireman played by Liu Qingyun, says that "the higher the building is, the more difficult it is to rescue. There must be someone to plant the land, and there must be someone to rescue". It is a good inheritance of this spirit of reflection on science and technology.
With scenes, humanity and reflection, "escape from the sky" brings a good start to China's disaster films.
