“德意志狂人”赫尔佐格又来了，这次他导演一出老挝丛林的惊险越狱，而不是南美雨林里的“陆上行舟”；不再推出多年来自成一派的纪录片，而是越战题材的好莱坞风格大片。《重见天日》的故事蓝本来自赫尔佐格1997年的纪录片《振翅高飞》(Little Dieter Needs to Fly)，主角迪特确有其人，他在2001年病故。影片特别注明根据真实事件改编，讲述一名向往飞行的德国人在越战时如愿加入美国海军，执行任务时被击落俘获，送到战俘营后寻机与难友脱逃。

影片开头赫尔佐格就用了一组飞机上拍摄的轰炸镜头，下面的越南村庄炸得火花与碎片共舞，绿意中迸发出美丽的杀机。这些画面和片中士兵们观看的“教学片”一样，都来自那部1997年的纪录片。纪录片里，老迪特现身说法，讲述30年前的丛林往事；而剧情片《重见天日》，则突出了他不灭的逃生信念。当主角身处无边的雨季丛林时，影片再现了赫尔佐格作品中常见的主题：人与天的对抗，意志的不摧。

赫尔佐格对飞行员迪特的故事如此留恋，才有将纪录片再编成剧情片的大胆之举。《重见天日》是部观赏效果不错的战俘逃生片，平实而震撼，缺陷就是它由始至终太接近好莱坞风格，让赫尔佐格的拥趸有些无所适从。不过即使有迪特的自传以及赫尔佐格的纪录片在前，但仍然有人对片中细节的真实性提出抗议。电影里有个偷走三双鞋、溜之大吉的角色菲西特(Phisit)，对应的真实人物被认为是另一名逃出生天的战俘普思提(Pisidhi)。这个普思提和其他没能逃出丛林的战俘的亲友合建了一个网站，名为“电影《重见天日》背后的真实”(http　：／／www.rescuedawnthetruth.com／)，称《重见天日》的编剧荒谬可笑，说那三双鞋又不能吃，有那功夫不如去拿米盐。

在史实中，获救后的迪特体重不到80斤；所以这里需要提下“蝙蝠侠”克里斯蒂安·贝尔(Christian　Bale)瘦身大法的高效——当然，他也奉献了完美的演技。在2004年的《机械师》(The Machinist)中他皮包骨头，当时这个演戏敬业到有些疯狂的家伙居然提出要求减到90来斤，被拒后以不到110斤的形象出现，令人惊讶也令人敬佩 ——这个体重是他正常体重的2／3。演完戏他回复了正常体重，结果这次在《重见天日》扮演饱受折磨的美国战俘，又是瘦骨嶙峋——贝尔的体重忽上忽下，还真是让人替他捏把汗啊。

================
提醒：如果看过Little Dieter Needs to Fly，相信可以有更多认识，一部纪录片为何在十年后被扩充成剧情片。


看图：《振翅高飞》与《重见天日》http://www.mtime.com/my/moviel/blog/692362/

http://www.mtime.com/my/moviel/blog/720253/

所以说嘛，电影的魅力就在于可以用多种不同的角度诠释。
许多人已经谈过打擂台和邵氏黄金时代的武侠片的血脉相连的关系。对，这绝对是一大卖点。

但是我们作为中国人，最厉害的文学成就什么？既不是四六骈文，也不是屁克尼克在河边的白话文，而是春秋笔法。你以为本朝媒体工作者都是吃素的么？历朝文人骚客留下这么多墨宝，有多少指桑骂槐的佳作留存于世？

所以，大家喜欢强调怀旧，拿文艺方式解读本片，身为水瓶座的小弟偏要拿社会学的脉络来梳理一下【打擂台】。

要理解片中各种人物的性格和互动，必先要理解现在香港面对的种种困境。

背景一：现实中，曾经叱吒一时，现在日暮西山的港人面对曾经百般嘲笑，现在羽翼渐丰的内地同胞，既有无可奈何花落去的自惭形秽，又有怒己不争的一腔怨愤。上海和香港，这出双城记永远是港人心中挥之不去的阴影。上海正在以无人能及的极速发展，而香港则坐困愁城，迷失了发展方向。

背景二：而随着公民社会的日渐成熟，近几年香港社会掀起了一波又一波的怀旧浪潮，社区保育 vs 地区重建成为社会运动界的最主要议题，电影界也当仁不让，拍出了像是岁月神偷这种触动了港人对逝去岁月集体追忆的制作。

背景三：八十后 vs 五十，六十后是最炙手可热的话题。在前一段时间的社区保育，高铁修建，以及补选中，许多八十后激烈批评社会现状。对于现在居于高位的人，八十后几乎一面倒地指责他们占着茅坑不拉屎，既无能又贪恋权位。而所有五十后的老板又非常不满八十后员工的表现，称他们是草莓族，不肯接受压力还要毫无业绩就要求升职加薪。

基于上面的背景，里面师徒的互动，黄又南和贾晓晨的关系，甚至那只臭不可言的蜡鸭也能用一条细细的丝线穿在一起。

泰迪罗宾其实就是香港的化身，身为一时俊杰，受尽万人景仰。但是时移世易，曾经的丰功伟业都随风逝去，过去的名门罗新门现在要沦落到转型为茶楼服务街坊方能苦苦支撑。这跟香港的境遇何其相似？现在不也是靠自由行，服务大陆游客才能勉强支撑吗？

在泰迪罗宾昏迷期间，全靠两位任劳任怨，毫无怨言的五十后徒弟梁小龙和陈观泰一力承担起罗新门的大小事务，罗新门的招牌方能传承至今。虽然今天招牌蒙上灰尘，但是重见天日的时候还是有人肯给面子上门拜访的。这跟今天的香港局势何其相似？香港辉煌的日子已经是明日黄花，但是提起香港，一般人还是会给点面子，觉得大概这也是个值得一去的旅游目的地。

而刚开始时梁小龙和陈观泰对黄又南的态度，100%就是现实中五十后对八十后的看法 - 瘦弱，不堪一击，有点鬼主意但是完全不可靠。而黄又南作为八十后的代表，既展现了开头的一事无成，跌进了处处碰壁的窘境，也将现实中八十后社运青年的热血，韧力带入了电影当中。那股明知自己和对手实力差距甚大仍不肯放弃，坚持锻炼的毅力和现实中的八十后反对者们其实心灵相通。

还记得贾晓晨和黄又南的那段若有还无的感情吗？这段感情注定无疾而终，因为贾晓晨要回上海。。。这里已经挑明了说上海就是香港的竞争对手，贾晓晨代表的可能是金融中心的地位，可能是中国的文化中心的地位，具体代表什么不重要，重要的是代表香港青年的黄又南只能眼睁睁地看着贾晓晨回归上海，看着上海重新夺回属于它的辉煌而自己却无能为力。

至于那只蜡鸭，代表的就是电影里竭力反映的香港精神 --

不屈不挠：30年如1日的传承下来
灵活变通 ：面对难关，管他蜡鸭还是腊鸡，能达成任务就成。

在剧情的最后，那只象征两代人共同珍惜的香港精神 - 蜡鸭终于达成了它的使命，在杯盘狼藉之中被五十后和八十后一起享用了。这一点明显就是导演对两代人的良好祝愿。

这，就是我用我认知的香港社会现状套入电影中做的解读。有人有看法吗？

本人爱奇艺会员，已有三年爱奇艺会员历史，今天无聊下载爱奇艺客户端，点“VIP电影”里面的“最好”，这个片子竟然是9.0分！！！好吧，冲着这个分数看下去，前5分钟还可能，就是觉得那些最后的保卫者语气怪怪的，穿的军装怪怪的，发的勋章也是怪怪的。。。再耐着性了看了半个小时，实在看不下去了，赶紧关掉，到豆瓣查一查这个电影的影评和分数，果不奇然，豆瓣上才3.8分，果然是垃圾得不能垃圾，群众的眼睛是雪亮的！

那么问题来了，谁能告诉我，爱奇艺上为什么是9分啊？？

        一听到欧阳胖胖和关咏荷多年后再次合作，不禁想到《陀枪师姐》中的陈小生与娥姐，还有《醉打金枝》中的郭嗳与公主，他们的合作本身就引起人的怀旧与期待。
       没看这部戏之前以为是纯讲爱情的，看了之后发现还夹带破案的，这更引起我的兴趣，不过看完全部，似乎离期待值还差了一点。
       剧情设置方面，有一些感觉并不太合适，比如瘟疫种痘预防事件，伤口结的痂磨粉吸入鼻子就能相当于种牛痘吗，不懂医理但觉得并不太可能吧……
       欧阳胖胖的表演依旧很有趣，一些表情反应很逗趣但又觉得自然，瞪大眼眼感觉还有点呆萌哈哈。荷姐依旧有种贤淑的气质但并不小女人，反而三个时空的角色都是有能力的女强人，宋代知性理智，五六十年代坚强隐忍，唯一缺点就是对着妹妹雁时太过圣母结果妹妹一点不领情还想她死来换自己活。到了现代，独立有主见。
       而各个时代的配角，蒋志光一出现我竟觉得他是TVB中最适合公孙先生的人。黄智雯好像看她演坏人的角色多过好人而且坏人都是很讨人厌的角色。朱晨丽我真的觉得她很多时候看起来像陈法拉，不过她口音上还不是很自然。
       还有一点想说的就是化老人妆的技术，袁世三还好点但是女生的老人妆太假了，皮肤无皱纹只是头发加了白色和额上画三根线，也太粗糙了点……
       其他方面还算过的去，总的来说这剧还算可以，没有期望值的高但冲着主角和三世剧情还是可以看完滴。

The Lost City of Z is a very long way from a true story — and I should know
A new Hollywood film hypes Percy Fawcett as a great explorer. In fact, he was a racist incompetent who achieved very little

The new film The Lost City of Z is being advertised as based on the true story of one of Britain’s greatest explorers. It is about Lt-Col Percy Fawcett. Greatest explorer? Fawcett? He was a surveyor who never discovered anything, a nutter, a racist, and so incompetent that the only expedition he organised was a five-week disaster. Calling him one of our greatest explorers is like calling Eddie the Eagle one of our greatest sportsmen. It is an insult to the huge roster of true explorers. Had the advertisement been about a soap powder, it would fall foul of the Trade Descriptions Act.

Percy Fawcett joined the army immediately after school, with a commission in the artillery in 1886. The next 20 years involved garrison duty in Ceylon and postings in Malta and England. The only significant events were getting married and becoming a devotee (like many others) of the charlatan psychic Madame Blavatsky. Fawcett’s game-changer came in 1906, when he was 40. The army let him take the Royal Geographical Society’s course on frontier surveying. Far away in South America, Bolivia had just sold its rubber-rich province of Acre to Brazil, so it needed its new north-western boundary mapped. The Bolivians approached the RGS for a mature surveyor to do this. The society’s secretary asked the newly qualified Fawcett whether he wanted to go; he accepted, reported for duty in La Paz and was at work on the new Amazonian frontier by the end of the year. This survey was the best thing Fawcett did. But he described it as boring, because the new frontier was all along rivers. This was the height of the great Amazon rubber boom, so he and his team cruised from one comfortable rubber barraca to the next, taking their regular measurements.

Fawcett’s only publications were a series of papers in the Geographical Journal about his mapping work. But he kept a journal, and in 1953 his son Brian edited this and other papers into a book called Exploration Fawcett. He emerges from it as a typical Edwardian colonial officer — friendly with South Americans but looking down on them, appalled by the cruelty at some rubber stations, full of gossip about life on this remote but boom-rich backwater, and uninterested in nature apart from banalities about dangerous snakes and irritating insects.

In 1908, the Bolivians asked Fawcett to survey another of their frontiers with Brazil: a small river called Verde, far away at the north-eastern corner of the large landlocked country. The preparations were appalling. Fawcett took minimal supplies, since he was accustomed to being fed by rubber stations. This was the end of the dry season with the river at its lowest. So they soon had to abandon their boat and continue on foot. After only a week, all food was exhausted and they were really starving. Fawcett casually remarked that five out of his six peons died from the effects of this five-week disaster. This was the only expedition he led into unexplored territory.

The Bolivians invited Fawcett back in 1910, this time to map part of their boundary with Peru. It involved paddling up a frontier river called Heath and two meetings with indigenous peoples on the banks. The first group fired arrows and guns over their heads. But Fawcett waded ashore with presents and shouting a few words of ‘Chuncho’ (the Peruvian word for all forest peoples) that he had memorised but did not understand. That was the only time that Fawcett attempted any language other than Spanish. Further up the Heath river, Fawcett met a tribe he called Ecocha (now Ese Eja) whom he really liked. They were ‘embarrassingly hospitable’ with their food, so Fawcett spent a few days with them and recorded something of their ethnography. He returned for a second visit in 1911.

After a final survey for the Bolivian government in 1913, of the upper Beni river in the Andes, Fawcett went sightseeing in central Bolivia. He and two companions were paddled down the big Guaporé river. They stopped at Mequens on its Brazilian bank to visit the Swedish anthropologist Baron Erland Nordenski?ld and his attractive wife, who provided guides to take them on a walk inland to visit a people they called Maxubi (now Makurap). The Maxubi were friendly and hospitable, but continuing on a forest trail Fawcett met another tribe (probably Sakurabiat) to whom he took a violent dislike. When one aimed a drawn bow at him, Fawcett shot the man with a Mauser revolver — absolutely forbidden by Brazil’s Indian Service. He described them as he imagined Neanderthals or Piltdown Man to have looked: ‘large hairy men, with exceptionally long arms, and foreheads sloping back from pronounced eye ridges… villainous savages, hideous ape men with pig-like eyes.’ No Amazonian Indian has body hair or looks remotely like this — I know, because I have spent time with over 40 different peoples. These two groups, and the two on the Heath, were the only tribal people seen by Fawcett. He liked two of them. So it was strange that he wrote racist gibberish that ‘there are three kinds of Indians. The first are docile and miserable people, easily tamed; the second, dangerous, repulsive cannibals very rarely seen; the third, a robust and fair people, who must have a civilised origin.’

When Fawcett was in the cattle country of central Bolivia in September 1914, news came of the outbreak of war. So he hurried home and by January 1915 was back in the artillery. In his late forties, he was too old for frontline service; but he fought a good war, ending as Lieutenant-Colonel.

In one of his pre-war lectures to the RGS, Fawcett had spoken of possible ancient ruins in the Amazon forests. He was now told about a scrap of paper dated 1743 in which bandeirantes imagined that they had seen a deserted city in the jungles. (The bandeirantes were slavers who scoured the interior of Brazil for Indians to capture. Although most of these thugs were illiterate, others did write reports about their travels — none of which said a word about seeing ruins.) Fawcett gave this imaginary ‘lost city’ the codename Z, and finding it became an obsession.

The easiest forest tribes to visit in Brazil were on the headwaters of one of the Amazon’s southern tributaries, the Xingu. A German anthropologist had contacted a dozen amiable peoples there in 1884; and since then they had been visited by seven groups of anthropologists or Indian Service officials. All had walked in by the same trail. So in 1920 Fawcett tried to follow this route — even though it was nowhere near where the chimera city might have been. His plans went wrong, so he got no further than a ranch halfway along the trail. In 1921 he searched for the mythical city down on the Atlantic coast, by train inland from Salvador da Bahia; but, hardly surprisingly, the miners there knew nothing.

In 1925, by now penniless but desperate, Fawcett tried again to reach the upper Xingu tribes. He now took two inexperienced ex-public schoolboys, his son Jack and Jack’s friend Raleigh Rimmel. The old surveyor made two suicidal pronouncements. One was that the trio should travel light, with nothing more than small packs. Everyone in Amazonia knew that you could not cut trails and keep your team fed with fewer than eight men. (I can confirm this, having done months of such cutting and carrying.) But Fawcett sent their pack animals and porters back, and continued with only his two novices. His other dictum was that Indians would look after them. This was equally dangerous. The Xingu tribes pride themselves on generosity; but they expect visitors to reciprocate. All expeditions in the past four decades had brought plenty of presents such as machetes, knives and beads. Fawcett had none. He committed other blunders that antagonised their hosts. So it was only a matter of days before they were all dead.

Twenty years later, Chief Comatsi of the Kalapalo tribe gave a very detailed account of Fawcett’s visit, reminding his assembled people of exactly how they had killed the unwelcome strangers. But the German anthropologist Max Schmidt, who was there in 1926, thought that they had plunged into the forests, got lost and starved to death; this was also the view of a missionary couple called Young who were on another Xingu headwater. The Brazilian Indian Service regretted that Fawcett, who was obsessively secretive, had not asked for their help in dealing with the Indians. They felt he was killed because of the harshness and lack of tact that all recognised in him.

Such was the sad tale of this incompetent, whose only skill was in surveying. But the disappearance of an English colonel while searching for a mythical ancient city in tropical rain forests was a media sensation. Two expeditions went to try to learn more. There was revived interest in the 1950s with the publication of Exploration Fawcett and the Kalapalo chief’s account of how they killed the Englishmen. Then it was forgotten until 2009 when David Grann, a talented writer, published The Lost City of Z. Unfortunately, Grann hyped the story out of all proportion and wrongly depicted Fawcett as a great explorer.

As he cheerfully admitted, Grann had no experience of rainforests. But he let his imagination run riot, with pages about ferocious piranhas, huge anacondas, electric eels (actually a fish that has never killed a man), frogs ‘with enough toxins to kill 100 people’, ‘predator’ pig-like peccary, ‘sauba ants that could reduce the men’s clothes to threads in a single night, ticks that attached like leeches (another scourge) and the red hairy chiggers that consumed human tissue. The cyanide-squirting millipedes. The parasitic worms that caused blindness…’ and so on. Everyone who know tropical forests, including me, knows that almost every word of this is nonsense.

Fawcett himself gave a simple account of his four surveying journeys for the Bolivian government. But for Grann, ‘in expedition after expedition… he explored thousands of square miles of the Amazon and helped redraw the map of South America’. Fawcett admitted that he was ‘a greenhorn in the jungle’ and knew nothing about nature. But Grann wrote that he moved ‘inch by inch through the jungle, tracing rivers and mountains, cataloguing exotic species… [until] he had explored as much of the region as anyone’.

For Grann, Fawcett was competing against other explorers ‘who were racing into the interior of South America’. The only study that Fawcett made after leaving school in 1886 was his RGS surveying course. He never mentioned any library research. But for Grann he was ‘almost unique’ in viewing 16th- and 17th-century chronicles ignored by other scholars; he re–evaluated El Dorado chronicles and consulted ‘archival records’ and ‘tribesmen’ in ‘piecing together his theory of Z’. Not a word of this was true, either.

Grann wrote that, as an author, he would have been lost without my three-volume, 2,100-page history of Brazilian Indians and five centuries of exploration. He quotes quite often from my books. So he had no excuse for describing Fawcett’s brief visits to three indigenous villages as the ‘discovery of so many previously unknown Indians’, from whom ‘he learned to speak myriad indigenous languages’, and adopted ‘herbal medicines and native methods of hunting [so that he] was better able to survive off the land’. Equally absurd was his rubbish about cannibalistic tribes, blow guns with poisoned darts, or Kuikuro menacing him with ‘gleaming spears flickering’ from the undergrowth (they never used spears, or had metal even, before their contact 130 years ago).

When the colonel vanished, Grann writes that ‘scores’ of explorers tried to find him, and that ‘one recent estimate put the death toll from these expeditions as high as 100.’ Actually, only one search expedition reached the Xingu, led by George Dyott in 1928. (It found that the three Englishmen had been killed by Indians.) The only other expedition was in 1932, but it got only as far as the Araguaia river far to the east. The death toll from these two attempts was zero. In 1935 a ridiculous actor called Albert de Winton went by himself to the Xingu and was killed by Indians who wanted his gun. So if we count him, the death toll is one — well short of Grann’s 100.

These and a great many other passages are artistic licence and hype of an absurd order. Hollywood believed everything Grann wrote, and then hyped it up more. People wishing to learn about the maverick colonel should consult his own fairly modest memoir — not the recent fantasy book and film about him. But I could recommend scores of writings by real explorers.

John Hemming is a Canadian explorer; the three volumes of his history of Brazilian Indians are Red Gold (1978), Amazon Frontier (1985) and Die If You Must (2004)

这篇影评可能有剧透 电影《劫数》竟然70岁的阿诺施瓦辛格又出来拍电影了，是70岁，怪我眼拙，竟然没认出来，现在的阿诺更像是一个普通的健壮老人，当然看起来的年纪绝对不到70岁，当完加州州长再来拍电影，很敬佩！ 故事是由一起空难引起的，只不过不是飞机故障，而是两架飞机相撞。 其实里...  (展开)

   否极泰来，如果年头遭遇到小挫折，你会集中注意力并保持一年的观影警惕。
   对于此片我打中评，因为我参与过此片的拍摄工作。
   各位朋友相信我，对于一个影片如果太烂，那已经不是像我一样的普通工作者能左右的了，小人物束手无策。每一部影片的好与坏，都有幕后工作人员的汗水。
   不过我看到各位的影评，我笑的快背过气去了。

本剧对标观众群体：喜欢《美恐：女巫集会》《低俗怪谈》《哈利波特》《暮光之城》的观众 优点：全员颜值在线，高出美剧平均水准。 缺点：剧情主线混乱，女主角人设混乱，不知道剧情为什么服务。 我以为我是冲着巫术、超自然元素、神秘学、魔法学院来追这剧的，结果支撑我看下去...  (展开)

这部12年前的港片若非这次机缘巧合，恐怕是没法在大银幕上看到。
大家都知道的，虽然香港电影是以娱乐为主的商业电影模式，但是，在娱乐的内核，却散发着社会阅读的模式，而使得香港电影在影像中或多或少的对社会现实获得一点的认识与了解，这部电影也是始终在一条香港老街中展开，剧中的人物，无一不是社会现实中最常见也最底层的民众。
香港电影是香港社会现实的某种反射，因而也贯穿了香港人的重要精神面貌：乐观自信。在这条老街上，街头打麻将的老人，中年警sir，小档口老板，满街乱跑的小孩，并没有因为生活贫穷而显得死气沉沉，倒是弥漫出一种自得其乐而又平静悠长的意味。邻里之间和睦相处互相帮助，就算是有人不幸离世，也说成“环游世界”去了。从电影中我们可以看得到香港人的精神，不会有自怨自艾。任何情况下都是要乐观自信。
其实看这部电影，更多的是奔着主演“哥哥”张国荣去看的。听过几首张国荣的歌，却几乎没有看过他拍的电影，只有一部《霸王别姬》也是多年年少之时，看完了事，并无多深的感触。但是一个人被追捧总有其独特魅力，在电影开始之前，张之亮导演简单讲了几句话，他说在在香港电影最不景气的时候，张国荣拍这部电影，分文不收，为此导演将张国荣的名字列在了出品人。由此一斑，不了解哥哥如我，也对张国荣感到的非常钦佩。一个演员必然要讲演技，这一点张国荣其实是无可挑剔的，说老实话这部12年前的电影现在看会感觉到故事有许多缺陷，但是演员的光芒盖住了那些缺陷，出色的演技让人不再去拘泥于剧情的漏洞和电影的时代，张国荣的表演也成为12年后观看仍然不过时的原因。
电影中有一段剧情讲到龙sir在兰姐重病离世之后说不知道自己活着还有什么意思，张国荣劝他想开点，龙sir说如果世界上的人都像你就好了，张国荣微笑着说，那样也许世界上就没有那么多自杀的人了。
看到这里的时候我想我明白了为什么那么多人不相信或者不愿意相信张国荣已经真的离开了。或者他并没有真的离开，只是隐姓埋名，过他想要过的生活享受平静去了。就像片尾曲他唱到：“你是明星，却学会远离繁华，享受平静；你是明星，请你照亮我的生命，不要闭上，眼睛。”
我不是铁杆荣迷，但是也想说一句：哥哥，请不要闭上你的眼睛。

这篇剧评可能有剧透 0 《间谍过家家》并不是我今年看过的最好的动画作品，但却是最轻盈也最有“享用感”的一部。 如果要讨论一部作品主要是靠什么“立住”的——或者说，其最耀眼夺目的所在，我想，在我看来，对《十二国记》《奇巧计程车》而言，是其主题与内涵；对《莉可丽丝》而言，是其人物特质...  (展开)

《碎了》——评析《百花深处》
这是一部片长不过10分18秒的电影，由著名的陈凯歌导演所拍摄，片子的名字就叫做《百花深处》。
该影片交代了一个这样的故事：一位冯（疯）先生让搬家公司去一条名叫百花深处的胡同搬家，可是到了百花深处却发现那里已经移为平地，搬家公司在接到上头的电话时才明白，原来这位冯先生竟是一位疯先生。。。。。
而这部只有10分18秒的片子之所以如此吸引人，大概是因为其中演员的表现，影片中的冯先生将一位失去家园的疯先生演绎的十分到位，从影片一开头他那副木纳的表情就让观众一下子了解了这位冯先生就是一个十足的老北京，当他坐在搬家公司的车子，看着一路上高楼大厦那副迷茫更加把一个老北京演绎的活灵活现。在来到百花深处时，他又把一个半疯半正常的疯先生演的让人赞不绝口，比如：他在搬家公司替他“搬东西”的时候那种小心翼翼、那种认真的神情，让搬家公司都为之动容。
另外一位演员的表现也很不错，他就是这部影片的搬家公司的头头，他把一个唯利是图的小市民演的淋漓尽致，比如：在冯先生问他可以替自己搬家的时候，他说：“搬，只要有钱就搬”说这句话的表情真的就像一个唯利是图的小市民搬上了荧幕。还有在他将车开到‘百花深处’时生气加郁闷而后又因为必须和冯先生讨钱时那两种不同的表情更是将一个唯利是图的小市民让人发出这样的感叹：怎么会有这么死要钱的人？
当然除了影片的人物，他的音响效果也很不错。比如：在冯先生见到自己心爱的铃铛时将铃铛摇的铃铛作响时的那种声音。让人有一种很空灵的感觉，连唯利是图的搬家工在听到冯先生‘摇’的铃铛时，也放松了心情，洗涤了心灵，他们不再是唯利是图的搬家工，只是普普通通的市民，甚至还让他们看到了“百花深处”。还有就是影片的最后，那背景音乐把冯先生的悲伤和‘喜悦’渲染的很好。
还有。该影片大量的运用了特写镜头和蒙太奇。从影片一开始就是一个特写镜头，然后从特写镜头一直慢慢的移到看似是蜿蜒小路的图案，当观众以为这是一个呈现地点的时候，镜头突然拉长，呈现在观众眼前的竟是陈凯歌三个字，这着实让人有了耳目一新的感觉，随后出现在观众面前的又是一个特写镜头，镜头自上而下给了观众一个高楼大厦，让人颇感压抑。在冯先生跟随搬家公司前往‘百花深处’的路上，给了沿路高楼大厦很多近镜头，当车开到‘百花深处’附近时，镜头又给了沿途被拆迁得一塌糊涂的房子们，这里运用的就是隐喻蒙太奇，它隐喻‘百花深处’也是这个样子，也可以说这些拆迁房是和刚才的高楼大厦的对比。在冯先生摇晃铃铛时，影片运用了蒙太奇的手发让影片出现了‘百花深处’的幻影，似真似假、如梦如幻。通篇影片都给人感觉艺术气息浓厚。
再来，这个影片看似只是一个‘荒诞’的故事，但是其本身所表达的主题却远不止这些，它所表达的是一个怀旧的故事，其实这部影片的疯先生他真的疯吗？不，不是的，他只是沉浸在过去的回忆中，不肯醒来而已。还记得那一幕，真是让人记忆深刻，搬家工司的人‘搬’着冯先生的花瓶，中途其中一个人问他几点，搬花瓶的人一时忘了他在‘搬东西’发下‘花瓶’看手机，虽然他很快反应过来，保持了原来的姿势，可是在冯先生眼里，它已经碎了，那一刻冯先生抚摸着‘碎片’哭得像个小孩。看起来他或许哭得是碎了的花瓶，可是，我想那一刻冯先生其实已经是清醒了，而他哭的感伤的其实是他碎了的梦、碎了的心

好久不见小美贺军翔，报道说都有孩子了，帅气依旧，魅力奶爸，当年的鲜肉，现在的男神，电影镜头下的他依然充满着质感，专为电影练就的完美身材好到爆，请原谅我是一边擦口水一边写完的，这都是拜片中的几段福利所赐，如果你认为这是一部卖颜卖腐片就错了，作品直击近年来最受关注的梦想话题，只是另辟蹊径将视角对准了电影行业本身，贺军翔饰演的沈东宝就是这样一个对电影本身有无限敬畏的爱好者，怀揣导演梦的他容不得他心中的神圣行业被一丝一毫亵渎，他贫穷落魄做着剧组最卑微的轨道工，却在看到演员在假惺惺的在台上演着一出出闹剧时公然喊“咔”，他面对江若琳饰演的八流演员千千的恐吓威胁毫无惧色，哪怕落得个失业＋被群扁的下场，仍旧面带微笑固守着自己的一份平凡。

千千说:“电影这个光环实在太美了，不是每个人都有资格和能力戴上那顶皇冠。”哪怕当下穷困潦倒，心中有梦想瞬间觉得无比富有。这部电影让我想起了霍思燕的成名作《我要成名》，相比于演员，导演的成名会更难一些，每年那么多新导演的处女作，真正闯出来甚至在国际上获奖的凤毛菱角，拍着拍着就成了一段回忆，其实他们真的只是想在聚光灯下拿到那座奖杯和说出无数次在心里排练过的获奖感言吗？还真不是，他们只是需要得到这个领域的肯定，以一种谦卑学习的心态得到电影行业这个精神图腾的开光和洗礼，那就是一种巨大的精神满足，这绝非如今充斥着急功近利、幻想巨额回报、当红流量明星的纯商业模式电影所能比拟的，只能说沈东宝的精神追求和当下的浮躁现实是相悖的，换了别人，可能早就放弃了。

这部作品确实有很多作品的影子，比如《中国合伙人》，同样三个臭皮匠，就能干成一件大事，《醉佳导演》里沈东宝、千千、刘易守三个电影边缘人合体，堪称“电影合伙人”，这其中兄弟情、爱情、坑爹、反转融贯其中，大片之路有点磕磕绊绊，好在心就在梦就在该来的总会来到，这里不剧透太大，只是有多少人在逐梦时遇到荆棘就半途而废，这个电影给了一部分浮躁的电影人以响亮的耳光，都说人没有梦想跟咸鱼没差，可能有的人也只是在浑水摸鱼罢了。

从偶像剧时代走过的男主贺军翔，岁月磨砺了他性感的外在，从青涩男孩到成熟男人，这股子熟男风搭配麻辣女主江若琳，脑中浮现的画面都是骑摩托和海边露天电影这一幕幕浪漫场景，有种偶像剧的错觉，白衬衫，破洞裤，还有贺军翔为了这部电影练就的人鱼线，分分钟想让你舔屏，他的人生经历和片中的沈东宝高度吻合，是职业素养在支撑着他们的过去和现在，小美还是那个小美，只是换了一种方式撩拨长大了的你。

片尾一个小男孩找到了在学校教电影课的沈东宝，请求他指导自己不成熟的剧本，沈东宝眼里满是当初莽撞无畏的自己，他拿出了一块面包给小男孩，然后意味深长的说出了一句话:“有梦想终究是好的，即使有一天破灭了，也总比从来没有过好，梦想的前提是自己能够吃饱。”沈东宝明白，或许有一天自己会将梦想搁置，却永远不会把它从心里移除掉。

故事俗套，就是《倩女幽魂》换一个名字，但故事本身却没有《倩女幽魂》感染力，甚至可以说一点感染力没有。故事本身来说，就像钱没处花买了仿版的衣服，一点创新没有，看完后每个情节你都能到其他电影找到。 但后期和演员来说，还是有值得肯定的地方，网剧来说没有亮眼的地方，...  (展开)

四个躁动的小镇年轻人妄想干票大的最后失败了的故事。 主线故事听起来平平无奇，但是形式非常新颖，细节做得非常精致，把简单的故事拍得一点都不简单。 印象最深的镜头是在超市前一个推过去的购物车，被点燃了又推回来。一开始我以为是生和死没想到是我过度解读了:） 我们谁也...  (展开)