伊森（汤姆·克鲁斯 Tom Cruise 饰）曾是任职于特殊部门的秘密特工，灌肠自从一位名叫茱莉亚（米歇尔·莫娜汉 Michelle Monaghan 饰）的美丽女子出现在他的生命里后，灌肠伊森决定金盆洗手，卸甲归田。遗憾的是，好景不长，幸福的生活还没过多久，伊森便接到了徒弟林德赛（凯丽·拉塞尔 Keri Russell 饰）被死对头戴维恩（菲利普·塞默·霍夫曼 Philip Seymour Hoffman 饰）掳走的消息。戴维恩冷酷又凶残，林德赛落入他的手中可谓是凶多吉少。为了解救林德赛，伊森重操旧业，他组织了一支精干的特工小组，向着目标人物发起了进攻。让伊森没有想到的是，戴维恩的真正目标并不是林德赛，而是茱莉亚，当爱妻落入敌手之时，伊森会做出怎样的反击？
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.
伊娃卡斯迪
回复 :一名爱国志士冒死刺杀日军参谋人员，将夺来的日军有关上海军事行动的机密情报藏身于“百年太岁”中，由章家父女将“百年太岁”秘密送往上海。到了上海，章家父女却离奇死亡，戏班学徒秦太岁无意间被卷入这桩凶杀案中，“百年太岁”落入上海黑帮人物卓亦凡手中被高价拍卖。同时，欲洗清冤屈的秦太岁开始调查事情真相，与爱国抗日秘密组织联手，和为夺回军事秘密情报的日本特务机构展开激烈斗争，并最终通过血与火的洗礼，义无反顾走向光明之路。
回复 :2017-MF01918
