1、女主漂亮可爱身材好,长发温柔有味道。??警察的老婆也不错。??
2、我真的以为最后男主光头强会说me的,但是,他说:her...显然女主和我都一脸懵逼??,导演能否出来解释一下???
3、剧情确实有起伏,但实在是漏洞太多。。比如为啥男主如此小强,40多的人了。。。骨瘦如柴的样子
4、大海出现次数太多了吧。。最后海水都淹到男主脖子了。。我才恍然大悟,这t
1、女主漂亮可爱身材好,长发温柔有味道。??警察的老婆也不错。??
2、我真的以为最后男主光头强会说me的,但是,他说:her...显然女主和我都一脸懵逼??,导演能否出来解释一下???
3、剧情确实有起伏,但实在是漏洞太多。。比如为啥男主如此小强,40多的人了。。。骨瘦如柴的样子
4、大海出现次数太多了吧。。最后海水都淹到男主脖子了。。我才恍然大悟,这tm是生命倒计时。
5、律师和富二代老妈死的那叫一个嘎嘣脆。其他人死的再干脆点能压缩到1个小时。。
6、黑色幽默不少,比如男主杀人后玩游戏消磨时间以免引人怀疑。。但我认为大概率是硬广告??
7、警察助手智商偏低,自信偏高,死的不冤。
8、警察也超勇的,敢和持枪已经杀了6人的光头强硬讲大道理。勇气可嘉,运气不错。
9、整部电影有点疾速追杀的影子。。练习口语和听力挺好的。
查尔斯·兰姆曾说:“莎士比亚的《李尔王》是不合在舞台上演出的。”私以为他的真正意思是:一方面,舞台布景不足以还原暴风雨真正的恐怖;另一方面,李尔远非常人,深入其中的狂暴力量、那种崇高感,早已超越了一个演员以其血肉之躯所能达到的程度。
《李尔王》里的风暴场面本质上是诗性的,大自然与人的激情交织,汹涌澎湃
查尔斯·兰姆曾说:“莎士比亚的《李尔王》是不合在舞台上演出的。”私以为他的真正意思是:一方面,舞台布景不足以还原暴风雨真正的恐怖;另一方面,李尔远非常人,深入其中的狂暴力量、那种崇高感,早已超越了一个演员以其血肉之躯所能达到的程度。
《李尔王》里的风暴场面本质上是诗性的,大自然与人的激情交织,汹涌澎湃——我几乎要相信,在充分调动想象力方面,唯当案头阅读李尔在荒原暴雨中那段独白的气魄时,恐惧的战栗才近乎到临峰值,而无论是演员以怎样的激情去演绎,效果竟也还是总嫌不够的。
但是,这次看到2018 BBC的电影改编,临近结尾的时候我忽然有了新的发现——
全剧最后一幕,考迪利亚死去,李尔临终前道:“我的傻孩子被绞杀了!没,没有命了!为什么一条狗一匹马一只老鼠都有命,而你偏偏没有气息了呢?你永不再来了,永不,永不,永不,永不,永不!请你,解开这个纽扣:多谢。你看见这个了么?看她,看她的嘴唇,看那,看那!”(死)
1、看一集的时常7分钟,感慨xl还真是走在了时代前沿,去年就拍了《月陨回声》这种几分钟一集的小短剧。
2、玉姬书属于是腾讯搞的短剧小尝试吧。分包给不同的工作室,这个瓦舍系列
3、大厂都开始搞短剧了,为什么?可能是因为受到抖音快手小短剧风靡的影响;同时也正好在资本紧缩的市场行情下,小投资
1、看一集的时常7分钟,感慨xl还真是走在了时代前沿,去年就拍了《月陨回声》这种几分钟一集的小短剧。
2、玉姬书属于是腾讯搞的短剧小尝试吧。分包给不同的工作室,这个瓦舍系列
3、大厂都开始搞短剧了,为什么?可能是因为受到抖音快手小短剧风靡的影响;同时也正好在资本紧缩的市场行情下,小投资,小风险。
以上纯属猜测。
原本以为是悬疑也不是,推理也不是,反而有点玛丽苏,但家人,对有些人来说是沉重的枷锁。23集的时候父女解开心结,虽然恶人作恶总有理由,但怀疑是一切犯罪的开端,也是一切亲密关系的扼杀者。很多错误和谎言,都是一开始不认错,不诚实造成的,而很多人一错再错,反而是为了掩盖一开始的心虚。老戏骨的演出都非常生动传神,感染力极强,以为天人永隔的夫妻见面,第一反应是愤怒怨恨,接下来马上是心疼难过抱头痛哭,非常
原本以为是悬疑也不是,推理也不是,反而有点玛丽苏,但家人,对有些人来说是沉重的枷锁。23集的时候父女解开心结,虽然恶人作恶总有理由,但怀疑是一切犯罪的开端,也是一切亲密关系的扼杀者。很多错误和谎言,都是一开始不认错,不诚实造成的,而很多人一错再错,反而是为了掩盖一开始的心虚。老戏骨的演出都非常生动传神,感染力极强,以为天人永隔的夫妻见面,第一反应是愤怒怨恨,接下来马上是心疼难过抱头痛哭,非常动人以及贴切。总体来说只有男主演技不大行,中间几次剧情反转还是挺厉害的,塑造的女主人设更加独立自主一些,这一点值得尊敬。
clit2014, jan 2, 晚交了20天,我再也不想上gender studies了我要吐了,写这篇paper不知道经历了多少mental breakdown
Women’s Experience Matters: Redefining Feminist Cinema through Claire’s Ca clit2014, jan 2, 晚交了20天,我再也不想上gender studies了我要吐了,写这篇paper不知道经历了多少mental breakdown Women’s Experience Matters: Redefining Feminist Cinema through Claire’s Camera As Laura Mulvey points out in “Visual Pleasure and Narrative Cinema”, traditional narrative cinema largely relies upon the practice of a gendered “gaze”, specifically, male’s unconscious objectification of female as erotic spectacle from which visual pleasure is derived. Her account draws attention to the prevailing feminist-unfriendly phenomena in contemporary cinema, one that resides in the language of patriarchy, privileging man’s experience while making woman the passive object deprived of autonomy. Many feminist filmmakers and theorists including Mulvey herself urge a radical strategy that dismantles patriarchal practice and frees woman from the state of being suppressed by the male-centered cinematic language.To conceptualize a mode of cinema that speakswoman’s language, or authentic feminist cinema, this essay interrogates the validity of Mulvey’s destruction approach in pursuing a feminist aesthetic. By making reference to Hong Sang-soo’s film, Claire’s Camera, I argue that feminist cinema needs to be redefined by neither the immediate rejection of gender hierarchy nor the postmodern notion of fluidity, but by perspectives that transcend the gendered metanarrative of subject vs. object, and that primarily represent and serve woman’s experience on both sides of the Camera. Earlier waves of feminism strived to call attention to, if not, eliminate the unbalanced power relation between men and women in the society, namely the dichotomy between domination and submission, superiority and inferiority, and self and other (Lauretis 115). Feminists such as Mary Wollstonecraft and Simone de Beauvoir radically interrogated women’s rights in the political arena as well as women’s relative position to men in the society at large. However, the approaches of the earlier waves cannot prove themselves sufficient in pursuit of a female autonomy, owing to the fact that they are constantly caught in the power-oriented metalanguage which inherently privileges one over another. While it is argued that the objectification of the “second sex” is oppressive in nature, for example, the assertion already marks the subject-object dynamics between men and women by default. It fails to propose non-power based gender narratives, while obliquely acknowledging that the language spoken in this context is inevitably characterized by phallocentric symbols, ones that prioritize self over other, subject over object, male over female. In thisregard, rather than rendering a perspective that exposes and dismantles patriarchy, the outcome of earlier feminist approaches inclines towards “replicating male ideology” (Mackinnon 59), reifying the omnipresence of the patriarchal language and reproducing the effects of patriarchy. A similar notion applies to defining feminist cinema. In terms of visual representation, feminist idealists encourage women to present their bodily spectacles, inviting interpretations free of erotic objectification. Despite the favorable receptions from the sex-positive side of the discourse, it is indiscernible as to whether these attempts truly free women from the dome of sex-negativism or reinforce the effect of the patriarchal language even more. This polarized debate, I believe, is due to the fact that the discourse is held captive by the language of patriarchy too powerful for one to extricate from, and that any rebellious gesture would appear to be an insufficient, passive rejection of the predominant ideology. To illustrate this point, Lauretis notes that Mulvey’s and other avant-garde filmmakers’ conceptualization of women’s cinema often associates with the prefix of “de-” with regards to “the destruction… of the very thing to be represented, …the deaestheticization of the female body, the desexualization of violence, the deoedipalization of narrative, and so forth” (175). The “de-” act does not necessarily configure a new set of attributes for feminist representation, but merely displays a negative reaction to a preexisting entity. It is important to be skeptical of its effectiveness in defining feminist cinema, as it implies certain extent of negotiation instead of spot-on confrontation with the previous value. A destructive feminist cinema can never provide a distinctive set of aesthetic attributes without having to seek to problematize and obscure the reality of a patriarchal cinema. In that regard, it is passive, dependent and depressed. More importantly, the question – how the destruction of visual and narrative pleasure immediately benefits women within the narrative and directly addresses female spectators – remains unanswered. TakingClaire’s Cameraas an example, the film destructs the notion of a gendered visual pleasure by presenting the camera as a reinvented gazing apparatus, one that differs from the gendered gaze, and instead brings novel perception into being. Normally, when characters are being photographed, mainstream filmmakers tend to introduce a viewpoint in alignment with the photographer’s position, enabling spectator’s identification; that is, the shot usually shifts to a first-person perspective so that spectators identify with the photographer gazing at the object who is in front of the camera. Claire’s Camera, however, abandons this first-person perspective while generating new meanings of the gaze. Claire ambiguously explains to So and Yanghye the abstract idea that taking photographs of people changes the photographer’s perception of the photographed object, and that the object is not the same person before their photograph was taken. The spectacle, although objectifiable in nature, is not so passive as being the object constructed upon, but rather constructs new signification upon the subject. The notion of the gaze is therefore re-presented with alternative insights. That being said, as I argued earlier, the destructive approach is not so sufficient an attempt at defining feminist cinema, because the way it functions nevertheless indulges feminist ideology in the role of passivity, deprived of autonomy and always a discourse dependent on and relative to the prepotency of patriarchy. In the conversation scene between So and Manhee, So, who is almost the age of Manhee’s father, criticizes her for wearing revealing shorts and heavy makeup. In a typically phallocentric manner, he insists that she has insulted her beautiful face and soul by self-sexualizing and turning into men’s erotic object. Despite the fact that the preceding scenes have no intention to eroticize the female body or sexualize her acts such that the visual pleasure is deliberately unfulfilled and almost completely excluded from the diegesis, So inevitably finds Manhee’s physical features provocative and without a second thought, naturally assumes that her bodily spectacle primarily serves man’s interest. This scene demonstrates that regardless of feminists’ radical destruction of visual pleasure, practitioners of patriarchal beliefs will not be affected at all; if any, the femininity enunciation only intensifies the social effects of patriarchy. The conversation between the two characters embodies the self-reflexive style of Hong Sang-soo’s filmmaking, in a sense that it fosters debates within the theoretical framework upon which it is constructed, and constantly counters itself in search of a deeper meaning, contemplating questions such as do we believe in what we practice, whether it is patriarchy or its opposite? And is anti-patriarchy feminism determined enough to prove itself a destructive force against patriarchy rather than a sub-deviant of a predominant ideology? The scene proves the drawback of a destructive strategy, that the way it operates nonetheless subscribes to a patriarchal manner, and that in order to escape the secondary position with respect to the phallocentric subject, more needs to be done other than problematizing the subject. To supplement the insufficiency of destruction, postmodern feminists such as Judith Butler proposes theoretical alternative to approach the discourse. Butler argues that gender is performative and fluid instead of a set of essential attributes. The notion of performativity indeed precludes the social effects of essentialism by introducing the idea of an identity continuum into gender politics, in ways that empower the socially perceived non-normative. On top of that, Butler believes that the categorization of sex “maintain[s] reproductive sexuality as a compulsory order”, and that the category of woman is an exclusive and oppressive “material violence” (17). Acknowledging the harms that essentialist perception of gender and sexuality entails, Butler bluntly negates the very categorization of woman. This radical negation, however, evades the reality that our whole understanding of the human race is based on gender categories, despite the corresponding inequalities generated from the instinctual categorization. In fact, it is when women as a collective community have come to the realization that the female gender is socially suppressed, that they start to strive for equality through the apparatus of feminism. Butler’s rejection of the gender categorization withdraws the sense of collectivism in the feminist community, which is “an important source of unity” for the marginalized (Digeser 668). Moreover, it deprives the feminist cinema of the necessity of delineating an authentic female representation, because within the notion of performativity there is no such thing as a fixed set of female representations but only distinctive individuals that conform to gender fluidity. Since identifying with a certain form of representation means to live up to a socially perceived norm from which one deviates, a performative cinema does not encourage spectator’s identification. The failed identification will not only drastically shift the spectator’s self-understanding but also cause more identity crises. Therefore, performativity is too ideal a theoretical concept to have actual real-life applications. Whether it is her body or her social function, woman has become the commodity of patriarchy. As Lauretis puts it, “she is the economic machine that reproduces the human species, and she is the Mother, an equivalent more universal than money, the most abstract measure ever invented by patriarchal ideology” (158). Woman’s experience has been portrayed in the cinematic realm nothing more than being the (m)other and the provocative body. Historical debates have proved that articulating the problematic tendencies within gender differences only results in skepticism rather than new solutions. Thus, in order to negotiate a feminist cinema, filmmakers need to abandon the patriarchal meta-language completely, and reconstruct new texts that represent and treasure woman’s experience more than just being the other, that “[address] its spectator as a woman, regardless of the gender of the viewers” (Lauretis 161). Similarly, what needs to be done in feminist cinema is more than just interrogating the gender difference between woman and man, but interpreting such difference in unconventional ways that liberate women from being compared to men and invite them to possibilities of having narratives dedicated to themselves. One of the ways, Lauretis suggests, is to regard woman as the site of differences (168). This signifies that the cinema needs to stop generalizing woman’s role based on her universal functions; rather, it needs to articulate her unique features, what makes her herself but not other women, from the way she looks to the trivial details of her daily life. In Claire’s Camera, the function of the camera conveniently transcends the diegetic space. In the narrative, it demarcatesthe “site of differences”, that is, how someone changes right after their photograph is taken, as well as how Manhee is presented differently each of the three times being photographed. The camera also magnifies her experience as a woman for spectator’s identification, mundane as it could be. In the last scene, the camera smoothly tracks Manhee organizing her belongings, packing box after box, casually talking to a colleague passing by, and so forth. Long takes like this fulfill what Lauretis would call “the ‘pre-aesthetic’ [that] isaestheticrather than aestheticized” in feminist cinema (159). Without commodifying or fetishizing woman and her acts, the film authentically represents a woman’s vision, her perception, her routines, and all the insignificant daily events which female spectators can immediately relate to. When a film no longer solely portrays woman as the “economic machine” that labors, entices men, and commits to social roles, it has confidently overwritten the patriarchal narrative with a female language. It fully addresses its spectator as a woman, appreciating and celebrating the female sex, not for what she does as a woman but for what she experiences. In conclusion, the essay first challenges the destructive approach in feminist cinema regarding its sufficiency in pursuit of woman’s autonomy and its indestructible destiny to fall back into patriarchy. The essay then argues that the rejection of gender categorization in performativity theory frustrates the mission of defining a female representation. Hong Sang-soo’s self-reflexive film, Claire’s Camera, offers an apparatus to delve into the drawbacks of destructive feminist cinema and simultaneously renders a new feminist code, abandoning the patriarchal metanarrative and constructing a new narrative that truly prioritizes woman’s experience. Works Cited Butler, Judith. “Contingent Foundations: Feminist and the Questions of ‘Postmodernism.’”Feminists Theorize the Political, edited by Judith Butler and Joan W. Scott, Routledge, 1992, pp. 3–21. Digeser, Peter. “Performativity Trouble: Postmodern Feminism and Essential Subjects.” Political Research Quarterly, vol. 47, no. 3, 1994, pp. 655-673. Lauretis, Teresa de. “Aesthetic and Feminist Theory: Rethinking Women's Cinema.”New German Critique, no. 34, 1985, pp. 154–175. Lauretis, Teresa de. “Eccentric Subjects: Feminist Theory and Historical Consciousness.”Feminist Studies, vol. 16, no. 1, 1990, pp. 115–150. Mackinnon, Catherine A. “Desire and Power.”Feminism Unmodified: Discourses on Life and Law, Harvard University Press, 1987, pp. 46–62. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.”The Norton Anthology and Theory and Criticism, edited by Vincent B Leitch, W. W. Norton, 2001, pp. 2181–2192.
不得不佩服老谋子一辈子都在努力地突破自己,每一部片子都有新的惊喜以飨观众。《红高粱》有血气方刚的豪迈,《大红灯笼高高挂》则展现出了深宅大院里死一般的压抑。《我的父亲母亲》拍出了农村的质朴,《英雄》则又画出了古典的韵味与侠味。《满城尽带黄金甲》是错彩镂金之美,而在《影》当中,张艺谋又贡献了一种几乎与之完全相对的山水墨画的干净简洁之美。
不得不佩服老谋子一辈子都在努力地突破自己,每一部片子都有新的惊喜以飨观众。《红高粱》有血气方刚的豪迈,《大红灯笼高高挂》则展现出了深宅大院里死一般的压抑。《我的父亲母亲》拍出了农村的质朴,《英雄》则又画出了古典的韵味与侠味。《满城尽带黄金甲》是错彩镂金之美,而在《影》当中,张艺谋又贡献了一种几乎与之完全相对的山水墨画的干净简洁之美。
其他等不一一细说。
即便是面对同样的抗日题材,《金陵十三钗》和这部《悬崖之上》也都有完全不一样的东西。《金》讲的是社会底层女性为民族大义所作的牺牲,是对人性的讴歌;《悬》则是部彻头彻尾的谍战片,讲的是人心之间的博弈。《金》的故事发生在南方,骨子里就带着几分柔软的悲情;《悬》的故事发生在哈尔滨,在大雪纷飞里,人与人之间充满了冰冷的交锋。
《悬》讲述了在上世纪三四十年代的哈尔滨,四位在苏联受训过的我方特工来到此地,完成一项秘密的“乌特拉”行动。日寇在截获这个消息后,想要破坏我方执行任务。于是,一场关乎生死存亡的考验,就此拉开序幕……
第一次在电影院看小马宝莉,一直以来都是在家里陪着小朋友看,作为大人,我也很喜欢看小马宝莉,电视版从第一季看到第七季全部都看了。不得不说,孩之宝出的动画片故事内容很丰富,人物的性格也很鲜明,配乐也是很不错的,剧情中时尚元素也有不少,大电影依然延续了友谊的重要性,团结就是力量,很适合小朋友观影。大人看也不会枯燥。
第一次在电影院看小马宝莉,一直以来都是在家里陪着小朋友看,作为大人,我也很喜欢看小马宝莉,电视版从第一季看到第七季全部都看了。不得不说,孩之宝出的动画片故事内容很丰富,人物的性格也很鲜明,配乐也是很不错的,剧情中时尚元素也有不少,大电影依然延续了友谊的重要性,团结就是力量,很适合小朋友观影。大人看也不会枯燥。
这个片子看了一半就觉得针对性很强,爽片元素齐全,年轻人最喜欢的、市面上流行过的要素齐全,快节奏剪辑,传统爆炸追车也不少,可以说是良好的消遣对象。
ps:评论里看到有人说什么不理解为什么这部片子低分,换一班大牌来是不是会好点,我觉得这位同学是不是真的有什么误解,这部片子里全是大牌啊!只不过是各国自己的大牌,就好像你拉个汤唯景甜啥的去演也只有我们中国人认识。。。这个对每个国家都有了号
这个片子看了一半就觉得针对性很强,爽片元素齐全,年轻人最喜欢的、市面上流行过的要素齐全,快节奏剪辑,传统爆炸追车也不少,可以说是良好的消遣对象。
ps:评论里看到有人说什么不理解为什么这部片子低分,换一班大牌来是不是会好点,我觉得这位同学是不是真的有什么误解,这部片子里全是大牌啊!只不过是各国自己的大牌,就好像你拉个汤唯景甜啥的去演也只有我们中国人认识。。。这个对每个国家都有了号召力,其实是很聪明的一件事了。
但是我为什么给三星呢,因为这片子的爽感一般,正因为什么都有,才精力分散,什么都没做到突出,至于故事线就别提了,一般来说如果爽片的爽做到位了,我完全不追究故事线,这个大家心知肚明,爽片的故事线能做到深刻、富有戏剧冲突简直是神片的档次,一般大家都不难为导演对吧,但是当你爽片元素没有发挥好,那就难逃低分了,因为你都没有故事线去撑。
就事论事,本片最大的一个技术上的失误就是“闪回和现在”的分割标记做成了一个在画面左下角的小字幕,且一闪而过。可能导演自己觉得我都打了几号那么大的黑屏了,肯定是讲这个人的过去啊,对,对导演来说很自然,但是对观众来说,如此快的来回闪回剪辑,如果不彻底分清楚,就会造成观众一脸懵逼。
我也有点怀疑导演是为了显示自己的剪辑牛逼,讲故事水平高强而这样快闪,继而引发讨论,增加热度,更何况千禧一代都喜欢速度越快越好。但是爆炸贝就是给我一种“由于不熟悉这个剪法而刻意用到过度掩饰自己不熟悉”这样的感觉。也不看看这是个什么故事:就非常简单,每个人都因为对过去失望而在千万富翁的撮合下放弃旧生活,拯救一方百姓于水火并在团队中找到真爱的故事。讲真,这行字真的把故事内容讲完了真,没别的了。。。。里面的人物都是简单的脸谱化的“好人”、“坏人”。所以好人组就是要去杀坏人组,且越残暴越解恨。这一看就是个爽片设定对吧,那么接下去就应该好好发挥“爽”这个特点吧?
可是爆炸贝非不信邪,一定要展示自己故事讲得如何高级,你本来就是空洞故事,再剪也剪不出什么呀,更何况是强行混剪,导致连这个简单的故事都没讲顺,到处产生阻滞感,快节奏的目的是为了让我爽,不是为了让我不爽吧!
我说的难听点,把一个简单故事剪得混乱到有碍观瞻乍一看其实和花了大心思安排多层次剪辑的故事表面上很像,区别就是静下心来看,后者看的时候会有流畅感,逐层抽丝剥茧,逻辑清晰。诺兰的致命记忆就是一个例子。
那么故事线扔到一边,爽片元素为什么我还是不满意呢?还是因为贪多嚼不烂,我承认每个镜头都很爆炸贝了,甚至用磁铁啥的都是亮点,可是每个人物的特征都立不大起来啊,本来出场还一个个都冷若冰霜,后面就自然组了n对情侣,跳跃性也实在有点大,就好比男主在吧台遇见女主一夜情,居然就把女主照片贴表盘上了,然后连娃都有了!中间就是空洞的,导演觉得反正你自己想象好了,我没时间整这个。。。人物性格立不起来也就算了,为什么连每个人的设置都不怎么清晰的呢?你说你死了个车手,为什么补了个狙击手?谁开车?是不需要开车了?医生为什么除了开头全篇都在外包别的业务?法国女和杀手不都是肉搏型的吗?这就是为什么他们一定要组队见家长的原因?跑酷小哥的功能就是组团建和被拯救?(因为最后一战我就没看出他除了被救以外还有啥功能)。
总之爽的元素表层表达是到位的,可没有系统性,疾速特攻让人爽到就是因为爽得有体系,鹤立鸡群,这个就是感觉整个爽元素的edge都被摊平,文戏差,武戏一般(以2019年标准而言),整个看完就像看了一个大型MV,人人慢动作大光圈什么的。。。幽默感有些地方还是有笑到我,比如杀手要打晕弟弟却死活晕不了什么的。。。算是有些反套路的点,所以给个三分及格。
相信我很上瘾????
真的很不错 当时在芒果TV页面上看到就好奇去看了下,看了几集真的很上瘾,真的好久没看这种都市爱情悬疑为一体的影视剧,一开始以为是个美食节目,哈哈哈哈哈,到后来没想到这么悬疑,真的看着越来越期待,真的很上瘾,会员看完,还想跟着非会员看一遍,真的一遍不够!真的不看会后悔!!!!
相信我很上瘾????
真的很不错 当时在芒果TV页面上看到就好奇去看了下,看了几集真的很上瘾,真的好久没看这种都市爱情悬疑为一体的影视剧,一开始以为是个美食节目,哈哈哈哈哈,到后来没想到这么悬疑,真的看着越来越期待,真的很上瘾,会员看完,还想跟着非会员看一遍,真的一遍不够!真的不看会后悔!!!!
就感觉剧不错就是宣发不够!真的这么好的剧!
演员演技真的很好!路小凡好深情,真的想要一个这样的男朋友,范丞丞演技真的提升了好多,蓝盈莹哭戏太绝了。其他演员的演技也是没想到!很棒!相信这部剧会??!
这节奏也太快了吧,一来就暴打渣男,建立公司,借钱……天啊,这剧,不要太爽啊,我都不敢错过片头片尾。好喜欢啊,许半夏在这些大佬中立足起来。就是谁还不去看,真的我会哭啊,就像在看大片电影一样,一点也不托,这画质,可不可以再来点啊,我不想这么快就结束。哈哈,还有许半夏的那些表情也太会了,看得出这是练出来了啊,社牛症,她与小弟们的戏也太好苦了,情深义重的难兄难弟都是。希望大家都去支持
这节奏也太快了吧,一来就暴打渣男,建立公司,借钱……天啊,这剧,不要太爽啊,我都不敢错过片头片尾。好喜欢啊,许半夏在这些大佬中立足起来。就是谁还不去看,真的我会哭啊,就像在看大片电影一样,一点也不托,这画质,可不可以再来点啊,我不想这么快就结束。哈哈,还有许半夏的那些表情也太会了,看得出这是练出来了啊,社牛症,她与小弟们的戏也太好苦了,情深义重的难兄难弟都是。希望大家都去支持
没看之前觉得应该和激战会是一样的,给我的感觉整部影片抛开拳击的专业度不谈,还是不错的,影片的节奏把握的挺好的,毕竟周导的《大追捕》《罪与罚》挺成功的,但是相较于《大追捕》还是不够紧凑。演员上感觉表现最好的尽然是周自在!影片的煽情全部都压在的女儿身上。小女孩也确实没有辜负这个期望!另外看的出韩庚确实很努力,但问题是他始终没有找到那个点,前70分钟就像是所有的重拳都打在了棉花上,在最后的半小时,
没看之前觉得应该和激战会是一样的,给我的感觉整部影片抛开拳击的专业度不谈,还是不错的,影片的节奏把握的挺好的,毕竟周导的《大追捕》《罪与罚》挺成功的,但是相较于《大追捕》还是不够紧凑。演员上感觉表现最好的尽然是周自在!影片的煽情全部都压在的女儿身上。小女孩也确实没有辜负这个期望!另外看的出韩庚确实很努力,但问题是他始终没有找到那个点,前70分钟就像是所有的重拳都打在了棉花上,在最后的半小时,基本上是接到女儿的电话时,才慢慢的找到感觉。要是给韩庚整部影片打分,前70分钟只能40分。后面的倒是可以75分以上。这里还是可以给韩庚点个赞的!另外想说的是看这类影片就不要去纠结体育的专业度啊,逻辑啊!如果你要是去纠结这些的话,我觉得你还是不要去看了!这也仅是我个人观点
广电独家 2022-08-17 22:12
文丨李京盛
电视剧《硬核时代》,表现了我国核电事业从无到有、由
广电独家 2022-08-17 22:12
文丨李京盛
电视剧《硬核时代》,表现了我国核电事业从无到有、由弱到强的发展历程,也展开了中国核电三代人筚路蓝缕、栉风沐雨的人生旅途。
01
离婚之后,陈屿就开始追妻火葬场了。虽然只是个电视剧,可是看到他在晓芹面前鞍前马后,真的特别心酸,可能我自己过分带入了,没有办法站在局外人的角度,批判陈屿这个人在婚姻中做得有多差劲,却深刻地感受到,他这种性格的人对自己有多无奈。
他并不是一个骨子里的坏人,但是他看不透自己的心,也左
01
离婚之后,陈屿就开始追妻火葬场了。虽然只是个电视剧,可是看到他在晓芹面前鞍前马后,真的特别心酸,可能我自己过分带入了,没有办法站在局外人的角度,批判陈屿这个人在婚姻中做得有多差劲,却深刻地感受到,他这种性格的人对自己有多无奈。
他并不是一个骨子里的坏人,但是他看不透自己的心,也左右不了自己的行为,自我认知很差,属于被心境牵着鼻子走的人。
恋爱的时候,每个人都在有选择地表现自己,给对方看得,大多是好的地方,所以当他们选择结婚的时候,设想出来的那个共同的未来,都只包括对方好的一面。
一共两篇文章, 第一篇是对《九阳神功》的评价。
看完《新倚天屠龙记》,我很佩服王晶。
我不是说王晶宝刀未老,而是惊叹他有自知之明。
《新倚天屠龙记之九阳神功》(后文简称《新倚天》)没有选择上院线,确实
一共两篇文章, 第一篇是对《九阳神功》的评价。
看完《新倚天屠龙记》,我很佩服王晶。
我不是说王晶宝刀未老,而是惊叹他有自知之明。
《新倚天屠龙记之九阳神功》(后文简称《新倚天》)没有选择上院线,确实是明智选择。
这些年,武侠片不好卖,拍成《新倚天》这副鬼样子的武侠片,更不好卖。
从演员阵容上看,你会觉得《新倚天屠龙记》是一部非常拧巴的电影。
非常亮眼的港星阵容,却成为了网大。
古天乐的戏份没有甄子丹的多,古天乐被视为领衔主演,甄子丹是特别出演。
以为有商战内容,原来来来去去也就码头和地铁站两个项目。两波人就是靠马老爷子给的股份衙文衙武,争家产通过开记者招待会靠股东举手投票决定谁是马氏CEO。前面十集还有那么一点叔嫂禁忌文学的影子,结果床戏拍得毫无美感,就是两个人很猴擒地抱在一起。贾洛仪到后期圣母的不可思议,那个小舅就是强奸犯,害得她妈精神失常最后跳楼,结果靠几句关心和抽湿机就决定原谅她老爸。她说和
以为有商战内容,原来来来去去也就码头和地铁站两个项目。两波人就是靠马老爷子给的股份衙文衙武,争家产通过开记者招待会靠股东举手投票决定谁是马氏CEO。前面十集还有那么一点叔嫂禁忌文学的影子,结果床戏拍得毫无美感,就是两个人很猴擒地抱在一起。贾洛仪到后期圣母的不可思议,那个小舅就是强奸犯,害得她妈精神失常最后跳楼,结果靠几句关心和抽湿机就决定原谅她老爸。她说和甄芯是好姐妹没想到真的是好姐妹,甄芯间接害死这么多人,到最后对她毫无怨恨。
甄芯这个人物设定感觉就是到后期就是英雄电影里面的灭霸,聚集了几个英雄出来打大佬。虽然最后还是靠家族联姻得到的股份,满满的槽点。我个人觉得要让甄芯坏得更立体首先要让她的行为合理,和她坏的动机。比方说她是反社会人格,或者一直不满自己的出身的母亲的市侩。她乐衷扮演自己人生赢家的设定,嘴上说要女权,实际上还是靠嫁入豪门得到的,毫无说服力。我怀疑这些豪门剧情根本就不是专业人士写得,总给观众一种我也可以赚他个几亿的即视感。大哥大嫂两个人打了个酱油,戏份还没来娣多。我还以为会回来复仇还是干嘛。
一开始片尾看到罗嘉良特别演出还以为三叔会是终极大佬什么的,没想到总共说了十句台词不到。当年还是杨康和郭靖,现在变成叔叔和侄子,不知道是捞家老了还是Chilam太能keep了。
还有明明前几集还说金龙标是为了马氏股份准备取马昭慈,他爸还夸他做得好什么的。结局竟然是什么对她一见钟情,而且无条件送她马氏11%的股份,那请问之前的大龙凤是做给谁看的???
杨怡在这么垃圾的剧本我都能看到她的演技有层次感,希望以后遇到好剧本。张智霖这个角色说实话一边需要内敛一边需要野心,感觉还是差点。如果黄浩然没那么快下线,可能还能看这三个人斗来斗去。梁靖琪真的要谢谢她老爸给她角色,怎么可以这么多年都毫无长进,全程卖弄自己的英文发音。到最后就是开了金手指,得到股份。怎么看金龙都对她不是真心的,富二代看上她靠一见钟情实在是太老土了,邻居家的狗都不信。梁靖琪和谭俊彦的故事告诉我们,成功靠父荫,你的演技即使像木头一样也可以混个女三男一当。
总而言之,tvb才是最大的赢家,一开始弄得好的时候大家都觉得tvb终于拍点好看的豪门剧了。埋堆堆顺便蹭热度把剧中演员的剧都上新一遍。好了现在家族荣耀高开低走还能再蹭一波说这部剧是优酷的寰亚的合拍剧可不关我的事。吐槽完毕我回去看天地男儿了,商战剧请大家认准戚其义。
这样的片子,豆瓣上只有5.8分,究竟是导演错了,还是豆瓣错了,还是科幻错了?
神级设定,逐步揭开的旷世之谜团,一场比一场更燃的战斗,科幻史诗般的终场。试问对一部异星类型的电影,还有什么更高的要求没有达到?
翻译原因,可能是有人没有看懂吧?又或者说即使字面上全看懂了,片中表达出来的深邃,大家都懂了么?那种科幻与宗教浑然天成的内核,大家看懂了么?
对于非好莱坞
这样的片子,豆瓣上只有5.8分,究竟是导演错了,还是豆瓣错了,还是科幻错了?
神级设定,逐步揭开的旷世之谜团,一场比一场更燃的战斗,科幻史诗般的终场。试问对一部异星类型的电影,还有什么更高的要求没有达到?
翻译原因,可能是有人没有看懂吧?又或者说即使字面上全看懂了,片中表达出来的深邃,大家都懂了么?那种科幻与宗教浑然天成的内核,大家看懂了么?
对于非好莱坞电影,若没有完全看懂想通,真的不要轻易打分 对于认真的导演与团队,对于天才的导演与团队,这真的不公平。
机缘巧合,最近重温1996年TVB版西游记。说是重温,其实小时候也没怎么看,意外地惊喜。
很多人说86版是孙悟空,96版是齐天大圣美猴王,确实是这种感觉。编剧加入了很多旁白和对前因后果的详解,感觉每个人物都更有人情味。
多情自古空余恨,此恨绵绵无绝期。哈哈!幸好上学的时候没看过,不然古诗词默写就写不对了...
加入了一些日常生活的情景,笑点都很棒,泪点也很
机缘巧合,最近重温1996年TVB版西游记。说是重温,其实小时候也没怎么看,意外地惊喜。
很多人说86版是孙悟空,96版是齐天大圣美猴王,确实是这种感觉。编剧加入了很多旁白和对前因后果的详解,感觉每个人物都更有人情味。
多情自古空余恨,此恨绵绵无绝期。哈哈!幸好上学的时候没看过,不然古诗词默写就写不对了...
加入了一些日常生活的情景,笑点都很棒,泪点也很动人。每个故事都很有记忆点。
悟空闭关出来变成菩提的样子,却一眼被识破,因为师傅已经老了。
牛魔王和铁扇一手造成了红孩儿的顽劣,也揭示了夫妻关系对于子女教育的重要性。
白骨精的故事改编也很精彩,加了比较多的戏。尤其是猪八戒做驸马,唐僧变黑熊的情节全部集中在这里完全不违和,激化了人物冲突。
孙悟空沙僧都好可爱,猪八戒好烦,师父很慈祥很帅。最大的亮点是初入人间的孙悟空是小孩子演的,太让人疼惜了。
哦,还有一点很贴心的是,旁白君说的是师徒五人~
小时候看86版西游记,印象只剩下打怪,所以一直并没有觉得西游记好看。后来看多了解读,才明白四大名著并非浪得虚名,所以决定看原著啦[奋斗]