这篇影评可能有剧透 我喜欢这个作品（难道我会说是因为草刈民代吗），做一个简单的分析。 ※剧作梳理 阿智是男孩，泰子是女孩，直子是阿智的妈妈。 1、在阿智与泰子小时候，直子带着阿智离开了泰子的家。 （泰子的生母也离开了泰子与她的父亲） 2、泰子长大后，阿智找到她，泰子起初有些抗拒，而后...  (展开)

刚看到这个剧，实在看不下去，因为雷死人的造型，还有脑残的台词剧情，但演员都很赞，即时受到了造型师的无情的摧残，导演要感谢那些演技颇硬的大腕的客串，还有人气偶像明星的捧场，以及那些美少男美少女的演员还有剧情虽脑残但蛮搞笑的，还有最后剧情想象力蛮丰富的。
我个人喜欢汤驰这个人物的性格，因为他快乐不悲观充满活力，讨厌哥舒明朗的虐，但喜欢后来不虐的他和他的皮囊，尤其最后他那楚楚可怜的样子，一扫以前我对他的憎恶。
剧情最后蛮温馨的，总体来说很适合小孩子看，有阴谋心计但同样有温情，话说有一定的积极意义，一群少年少女的成长史，虽然他们身世情感混乱但也有点励志意味，也有点娱乐让人放松的效果，但不客气的说，更多的是无聊的闹剧，主角都好玛丽苏，尤其是宇文男，哥舒明朗。
话说哥舒明朗造型长相是该剧亮点，但他的人物性格是为剧情服务的，强加一些悲情转换的也不自然，但他依然会火，谁也阻止不了少女们的yy
总结这是一部老演员捧新人的戏，而且是靠无数青少年的力量捧红，它的总体观众也是那些青少年，一如秦时明月，还珠格格，但还珠格格这个偶像剧经典无论韩国日本台湾香港无一能超过，就像西游记在哪播就红哪，无耐被嫉妒打压，例如在韩国太火就禁播了，甚至其他中国剧多不敢引了。

真的不至于是6.5，我心目中怎么也8.5以上了，我打高一点提提分 故事很棒，从头到尾都不牵强，这个题材也很新颖，看着不累。 小孩子最开始的崇拜，了解成人世界之后的动摇，甚至和其他人一样戴了有色眼镜；四毛最开始吊儿郎当假装无所顾忌，拯救小朋友以后慢慢付出感情，到被伤...  (展开)

rt 95年拿到鸟类博士 然后工作了几年 ？？？到处都显示出虽然我读了博士但是我就是想转行，众所周知博士的名额都是抢来的挣来的……鸟类学博士也有被冒犯到……自己租了别墅住还看不起教师学校分配的公寓…… 国家的科研资源被严重黑化…女性的科研技术和社会地位就是为了无脑...  (展开)

      1.作为一部独立的民谣电影虽没有专业电影那么好看，但是导演还是有点想法的，只是很多东西没有表达出来，对于非专业导演穆丹来说，是一件及格作品，这种怀旧电影更多的是勾起回忆，很有启发意义，值得推荐！


     2.理解电影来看看穆丹怎么说。
      【穆丹觉得，青春就像“环城”，它毫无意义，从起点到终点走一圈，起点就是终点，像画了一个毫无意义的圆圈，但是你在这个过程中的暴走、冲突、疲惫、怨恨各种体验，这种无目的地展现、发现和体验，才是青春的真谛：一场没有任何功利色彩的行走。】

      的确整部电影都很散，看似毫无意义，但是沉下心来思考一下，青春甚至人生就在眨眼之间悄悄流逝，现实很快变为回忆，回忆似乎又有无尽的后悔，这就是青春吧！


    3.电影有些诗意化。
       
     《环城七十里》，就是这样一部诗歌化的电影，影片中有12首歌曲，其中7首是穆丹的旧作。创作的时间是15年前。

    《哑子的爱情》《一个唱歌的人》《孩子诞生于泥并祝福你们》《一只受伤的狐狸》《告别的少年》《爷爷走了》等歌曲的小样被从穆丹尘封的磁带堆里一一拣回来，垫到影片粗剪版。

　《城门城门几丈高》这首歌穆丹是临时做的，却成了他最得意的作品，简单、上口、很乡土、很中国。九分半钟，把南京的十二个城门都唱进去了。

　《环城七十里》，就这样成了一部现代民谣音乐电影。

   4.表演确实生硬，只说一点，爷爷噩耗传来那一刻，似乎没有悲伤，表现那么镇定？有这样的孙子？？？

    陈嘉的扮演者陈俊达，中国传媒大学南广学院电视编导专业学生。
    
    孙熙文的扮演者孙熙言，四川传媒学院摄影专业学生。
    
    张超然的扮演者黄婧，中国传媒大学南广学院电视编导专业毕业。
    
    在主角和主要配角里学过表演的，只有扮演林珮曦的李佳怡，而李佳怡在班上恰恰属于“专业平平”的那个。
    
    在电影拍摄的初期，很多常混剧组的工作人员暗暗对演员的表演大摇其头，认为他们根本不会演戏。而穆丹的说法是，“我要的就是他们自己，不需要去演”。

    《环城七十里》，就是这样一部“反表演”的电影。

     反表演？没有真情，是电影一大弊端。
     
    5.它的故事是超浓缩的，没有铺陈、卖弄，所有情节都是点到即止；

      它是反剪辑的，大量的长镜头让剪辑师抱怨无事可做；

      它是反西方视觉系统的，全片几乎没有一个色彩浓烈的镜头，城墙的深灰、天空的浅灰、树木的绿和夕阳的淡金中浮现的是远去的白衣少年。

   6.作为非专业导演，一切的不解很正常，希望越来越多的独立电影出现！！！

                            ------------- 2012年12月28日 10:16

没想到这部剧还有二，也没想到这部剧令人很惊喜，女主演技有了极大的提升，本来想吐槽造型，可是顽皮的女主张着两个大眼睛，就像大眼萌，可爱到让人觉得造型也很合理，戏里，男女主的感情发展很自然，事实，情节紧凑。本来魔幻题材的剧很容易给人很low的感觉，但使这部剧完全没...  (展开)

对我来说，这是一部非常丰富的片子，有很多很好的点。 第一个点，当然是格林。它使我摆脱了以人类为中心的视角下人们对狼的习惯认知，真正认识和了解了狼这种生物——勇敢、智慧、坚韧、深情。我为什么不提自由呢？ 因为它勇敢，可以毅然放弃人类安稳的投喂，而选择去生死未卜...  (展开)

从表面看这是一部关于正义小人物推翻反派高层的热血片，然而这是假象。大反派京极行长，亲自提拔了男主，招回了武田，启用了柳泽，结果三人到最后都成了反对京极的急先锋，感觉京极智商情商严重欠费。

然而换个角度，野崎、武田等人，只是借用不良债权和反对合并来进行斗争，并最终推翻了京极一派，那就一切都说得通了。完整的故事如下：

野崎是一名特别能隐忍，志在行长大位之人。还是支店店长的时候，就充分展示出其过人的手腕，而且目的为导向视公司规章制度等为无物（第一集就在描述这一段），还能把自己伪装成为一名与群众打成一片高尚之人。总行行长京极为了打击异己，策划提拔野崎成为监督员意图借野崎之手除掉对手。

然而回归总行成为董事的野崎，野心也开始膨胀，暗中谋划着自己的行长大业。终于野崎发现行长涉及到一个名为G1的秘密计划，为京极行长与现任首相在泡沫时代，巧取豪夺民间土地。野崎决定以此为突破口，收集行长的黑材料。在这个过程中，京极感受到了野崎的真实意图，于是又启用另一名被自己曾经放逐的政敌武田回总公司，意图平衡失控的野崎派。

然而在这个过程中，野崎步步紧逼，并掌握了银行的真实财务状况，开始威胁京极下台，同时利用自己高超的手腕许诺一旦京极下台，将拥护武田成为新行长。武田察觉到了野崎的实力，更被行长大位的诱惑蛊惑，逐步选择与野崎联手，至此野崎开始占有上风。

然而京极使出杀手锏，准备与另外两家大银行合并，意图通过此来拯救银行同时也打击野崎派。终于野崎撕下了自己的伪装，开始使用各种手段拉拢从大股东，普通职员乃至合作银行行长等人，最终成功逼银行放弃合并案，并让京极因为严重混乱而引咎辞职，成功推翻了京极派。

而之前被野崎许诺会成为新行长的武田，此时也看明白人心在野崎一方，于是决心主动把行长大位给野崎，自己屈居副行长，以避免被大权在握的野崎清洗。

然而就在野崎登顶之时，人算不如天算，被逼下台的京极向政府举报银行破产的现实，用的材料正是野崎自己当年安排心腹写的，可谓极尽讽刺。就这样，野崎与京极的斗争，以大空银行被国有化而结束，野崎的行长宝座也仅仅坐了一周不到。

Review by Derek Elley (Film Business Asia)

Pretty much the only thing off-kilter about When a Wolf Falls In Love With a Sheep 南方小羊牧場 is the cumbersome English title, which also makes it sound like a children's cartoon or a sappy melodrama. Apart from that, this second feature by Taiwanese writer-director HOU Chi-jan 侯季然 is a beautifully paced rom-com wrapped inside a neighbourhood ensemble movie that doesn't put a foot wrong. A rom-com where not a single kiss is exchanged, where the two protagonists seem to spend their time thinking about everything but the other person, and where the story is only just starting as the film ends, Wolf represents a huge leap in writing and structure from his feature debut, the abstruse, time-bending romance One Day 有一天 (2009). More than that, it fulfils the promise of his segment in Juliets 茱麗葉 (2010), a perfect demonstration of the short-story form that also showed a natural feel for Taipei's backstreets.

Clearly inspired by his own memories of Nanyang Street — an area just south of the city's main train station that's known for its cram schools — the movie starts off with protagonist Tung (likably played by Kai KO 柯震東, director Giddens 九把刀' alter ego in hit You Are the Apple of My Eye 那些年，我們一起追的女孩。 (2011)), being peremptorily dumped by his dream girl (Nikki HSIEH 謝欣穎, from One Day, in a cameo) with a note stuck to his forehead. After falling to pieces, and searching for her among Nanyang's cram schools, Tung ends up working in a copy shop there and stumbles across the school where she once was. Meanwhile, he's met one of its employees, Hsiao Yang ("little sheep"), a wannabe illustrator biding her time there and drawing small cartoons of the woolly animal on exam papers.

The quiet Hsiao Yang is slightly tomboyish, quite independent minded, and definitely a bit spacey. As she and Tung become pals, sharing their memories of being dumped, they enter into a relationship that neither of them realises is happening: part of the movie's magic is that, though the audience is more aware of what's taking place than the protagonists are, it always leaves its development unsure. In a heart-stopping finale, where time itself bends out of shape, Hou deliberately toys with the viewer's expectations.

As played by CHIEN Man-shu 簡嫚書, who had a tiny part in Hou's episode of the portmanteau 10+10 十加十 (2011) as a young singer in the '50s, Hsiao Yang inhabits a dreamy plane of her own, counting down the 100 days she's promised herself to spend in her menial job before moving on, and only showing the tiniest clues that she's interested in Tung. The latter, still obsessed by being dumped, only picks up these clues tangentially, until one day... click.

With no regular plot, the film is one in which tone is all-important — a difficult balancing act for any director, not least in the difficult genre of the rom-com. The screen chemistry between Chien and Ko is tangible without being over-obvious: two lost souls spending time together. But Hou maintains the tempo by making Hsiao Yang and Tung's story part of a larger neighbourhood ensemble: the school's colourful, bowtie-wearing boss (Dennis NIEH 聶雲), a priest-cum-noodle stand owner (beautifully played by LIN Ching-tai 林慶台, the aboriginal actor who debuted as the lead in Warriors of the Rainbow: Seediq Bale 賽德克?巴萊 (2011)), Tung's wacky boss (character veteran TSAI Chen-nan 蔡振南), a sticky-rice seller (WU Pi-lien 吳碧蓮) who's lost her dog, and Hsiao Yang's entrepreneurial, kooky workmate Pao-pao (KUO Shu-yau 郭書瑤). Neighbourhood films are a staple of Taiwan cinema but Hou neither overplays the comic potential nor makes the characters and the whole film seem too local (unlike, say, the recent Together 甜?祕密).

On a technical side, the film benefits from a top-drawer score by Owen WANG 王希文 (Jump Ashin! 翻滾吧！阿信 (2011), The Soul of Bread 愛的麵包魂) that's alert to nuances of mood; occasional use of tricks like speeded-up motion; and discreet visual effects for Hsiao Yang's dreams. Wolf could have been just cloyingly cute; instead, it's cute, funny and, in its final minutes, very moving. Much of that is due to the precision script by Hou and his collaborators (including regular Kelly YANG 楊元鈴), which satisfyingly clicks together in the final third, bringing together elements that only seemed like passing decoration (e.g. paper planes) and still springing lovely surprises (as with Fried Rice Man's backstory).

Wolf isn't a "big" film, with grandiose statements or major events. But it's beautifully crafted, touches both the funny bone and the heart, and pulls off that most difficult trick of all — turning the small things of life into engaging entertainment. For that alone, it deserves an extra point.

The Chinese title simply means South Sheep Farm, Hsiao Yang's nickname for the cram school. Viewers are also advised to stick around until the end titles have finished, for a lovely capper between actors Tsai and Lin.

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