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宅男
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宅男
回复 :国际巨星杨昊，把曾经的老板收为麾下管家，曾经中戏的男神变成杨昊的贴身助理，每天过着纸醉金迷、灯红酒绿的生活，忽然间的一场梦，把他带到了几年前奋斗拼搏的时候。老板还是老板，男神还是男神，而杨昊就是一个做着明星梦的屌丝。因为周总的刁难施压，杨昊与乔子晴合作一起为他们的电影《不看别后悔》找投资，在找投资的路上碰到了形形色色的人，经历了各种各样的坎坷，经过一系列的乌龙过后，最后终于拉到了投资。当他回到现实的时候发现曾经的人、曾经的事，早已不是最根本的样子，娱乐圈将他变得人不人，鬼不鬼...
袁耀发
回复 :周传阅（宋晓峰 饰）在一次意外中“穿越”到了2022年，醒来到周传阅发现自己是坐豪车、住豪宅的上市公司董事长，更意外的是当年心中的女神复芳（刘美汐 饰）竟是自己的老婆，当他偶遇年少时的情敌莱昂（文松 饰）时发现莱昂一直对复芳念念不忘，俩人展开一系列爆笑过招。影片中暴打情敌、身陷仙人跳、人活着却遭遇坟头蹦迪等桥段，将笑果拉满！
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
