之前在b站上看过剪辑版本，把过场都剪掉，直接就是吃饭集合

全篇就是菜端上来之后，跟随叔审视目光下的美食特写镜头，小心翼翼地夹起一块慢慢地放进嘴里，认真品尝的细嚼慢咽，然后吃着吃着叔的嘴角开始上翘，笑容从眼睛里洋溢出来，中间开始要尝试不同的搭配吃法，一口接一口，愈吃愈快，最后不顾一切大快朵颐

美味的表达不仅仅体现在视觉上面，更是在叔的每一个动作里，每一个表情里，每一个动

作为成年人，这是最爱的动画电影之一了。在原始社会里，到处危机四伏，生活着各种各样会吃人的大动物。咕噜家族每天经历着千辛万苦，冒险狩猎才能勉强糊口。瓜哥作为一家之主，一直尽职尽责的保护大家的安全，就是一直嫌弃老而不死的外婆，生存的压力太大，多一个人吃饭可是不小的负担呢。小伊是个大姑娘了，是一枚勇猛的女汉纸，是家族狩猎的一员大将，可是也叛逆得让瓜哥头疼。小伊喜欢追逐太阳，一天夜里被光亮吸引跑出去

作为成年人，这是最爱的动画电影之一了。在原始社会里，到处危机四伏，生活着各种各样会吃人的大动物。咕噜家族每天经历着千辛万苦，冒险狩猎才能勉强糊口。瓜哥作为一家之主，一直尽职尽责的保护大家的安全，就是一直嫌弃老而不死的外婆，生存的压力太大，多一个人吃饭可是不小的负担呢。小伊是个大姑娘了，是一枚勇猛的女汉纸，是家族狩猎的一员大将，可是也叛逆得让瓜哥头疼。小伊喜欢追逐太阳，一天夜里被光亮吸引跑出去，遇见了乔装打扮的盖，成了对欢喜冤家。盖虽然瘦弱，却很聪明有谋略，他的出现改变了咕噜家族的生活，从此不做东躲西藏的穴居人，家族也更团结和谐了。优秀的动画片大多都有正面寓意和教育意义。咕噜家族从最开始的本能逃生学会了勇敢，又在后面悟到了真理:要追随光明，永远不要害怕，不要躲藏！重新再看一遍的时候，突然发现了国语配音演员居然是影帝梁家辉，黄晓明，范晓萱！！！难怪跟那些毫无表情的尴尬翻译片完全不同，瓜哥的无所畏惧，风趣失落无奈；盖的睿智搞怪；小伊的彪悍、可爱，全部通过配音惟妙惟俏的表现出来了！好希望咱们那些演技好，台词好音色佳的演员们多去给动画片配配音，别白白浪费了宝贵的资源啊！

【详细】

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《刺杀小说家》这个电影很怪，没有办法拿它去跟别的电影比较，它太特别了，看完电影我能预见评价会两极分化，因为电影到底如何，取决于你是否相信导演创造的那个世界。

觉得电影有bug的可以看看这个

《刺杀小说家》这个电影很怪，没有办法拿它去跟别的电影比较，它太特别了，看完电影我能预见评价会两极分化，因为电影到底如何，取决于你是否相信导演创造的那个世界。

觉得电影有bug的可以看看这个https://movie.douban.com/review/13219232/本篇不会剧透，涉及的都是之前预告过的内容，我只是从一个观众的角度来谈谈我看电影时的感受。动漫风的电影是路阳导演的特色，镜头剪辑剧本配乐都有种浓浓的真人热血动漫的感觉。观众看电影无非是看剧情、特效、画面、人物，我就从这几点来说说。剧情：我前面也说到了，电影好坏取决于你是否相信，或者暂时相信电影设定。一个父亲，为了找到女儿，替别人杀掉“写剧情能改变现实”的小说家，我为什么加双引号，因为真相需要去电影院寻找，剧情会超乎想象。在重重迷雾中，到底什么是现实，什么又是小说？所有人看到的都是其中的一小部分，包括观众，我每次以为猜到了结局，下一秒就会被打脸，导演引着你将谜底一层一层揭开。其中还会时不时冒出一些很奇妙的笑点，张弛有度，让观众有适当的情绪放松。两个世界故事的穿插非常顺滑，结局出人意料，路导真是天马行空，但是带入之后还是相当爽的哈哈哈。特效：最大的感受就是舒服，很多3D电影好像生怕观众不知道是3D似的，特效就是各种武器各种东西往观众脸上飞，美其名曰肾上腺素飙升，其实让人眯着眼睛看完最后还头晕眼花。刺杀的特效恰到好处，既有身临其境的刺激感，又不会让观众不舒服，这才称得上“视效大片”。15米高的赤发鬼也许在预告片里并没有震撼到你，但是电影里绝对会，四臂两足的巧妙设计为打戏服务，脑洞大开。画面：云中城百姓拜赤发鬼以及接下来的战争场面，给我一种衰落前的长安的感觉，看似繁华盛世，实则早已不堪，人的阴暗面被激发出来，赤发鬼不仅是百姓朝拜的神，也是每个人心中的恶念。布景很美很梦幻又能让你融入进去，就像一个催眠师慢慢把你带进梦里，这种感觉我之前只从《长安十二时辰》里感受到过，就算是虚拟的世界，也有着浓浓的国风。赤发鬼的红衣战士追赶空文和小橘子那一段，红衣战士的动作身形镜头剪辑，又像在看漫威电影，他就是超人、蜘蛛侠、蝙蝠侠……古典与西方两种风格竟在电影中慢慢融合起来却不突兀，再加上配乐，此时我也跃进小说，来到云中城了。人物：刺杀小说家不是完美英雄主义电影，没有圣父圣母。男主为了女儿做了错事，小说家写到最后想要放弃，屠灵因为自己被父母抛弃而误会男主抛弃女儿，对他充满敌意见面就打。可是后来，男主悬崖勒马，虽然还是为了女儿，小说家被男主的梦境激励着继续创作，屠灵了解真相后做了不一样的选择，他们三个像是互相救赎的共生体，他们是立体的、鲜活的，也正因人物的真实，在这130分钟里我会相信那个世界是真实存在的。打戏也是一个亮点，雷佳音和杨幂的打戏看着可真过瘾，董子健主要是被打还有逃跑????雷佳音在电影里的技能很奇特，杨幂动作干净利落帅。特效的打斗场面就更不用说，看着就一个字——爽！有IMAX场的话一定要看IMAX！龙标001号，刺杀小说家值得。

【详细】

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真的有点失望，但还是给了两星。不明白为什么电视剧把好多人设都改了，改了敏言同时喜欢两姐妹的人设，不知道这个被人利用的伏笔到最后怎么圆回来。改了璇玑的人设，璇玑虽然不懂人情，但并不是没有六识，这样改有点傻白甜。多加了小银花的剧情，让它就好好做一只不成型的灵兽不好吗，非得改过来让它来堵男女主的路。电视剧真的是想走虐恋啊，其实原著也没怎么虐，也没有所谓的十生十世，为什么要强加来虐男女主呢，男主前百

这个导演比较不走寻常路，通常这种悬疑性质很大的电影，导演都会回避特别清楚地回答观众疑问，他反而在各种访问、活动一一回答了大部分问题。

以下两个链接说得很清楚了：

这个导演比较不走寻常路，通常这种悬疑性质很大的电影，导演都会回避特别清楚地回答观众疑问，他反而在各种访问、活动一一回答了大部分问题。

以下两个链接说得很清楚了：

https://variety.com/2018/film/awards/hereditary-ari-aster-answers-burning-questions-1202841448/

And the fact the family is completely unaware adds to the terror.One way that I pitched the film when I was first taking it out was “it’s a story about a long-lived possession ritual told from the perspective of the sacrificial lamb.” Ultimately we are with the family in their ignorance of what’s really happening. But I also wanted to imbue the film with this sinister, more knowing perspective. Even though we are with the family in their ignorance, the movie itself knows exactly where the story is going. And everything is inevitable. Throughout the film, things are just sort of clicking into place and all those things are driving this family towards one end.

In an early scene, the subject of free will is discussed. Are you saying this family has no free will?Yeah, absolutely. I see the film as being very Greek in that sense. This is absolutely inevitable, the family has absolutely no agency.

There is nothing Annie can do to stop this from happening?No, I don’t think so. That’s where the dollhouses came in. Annie creates these miniature figures and dollhouses and they served as a perfect metaphor for the situation; they’re dolls in a dollhouse being manipulated by outside forces. Any control they try to seize is hopeless.

Is that why she thinks she can stop it by burning the Charlie’s sketchbook – the first time she tries, she catches fire — but the second time, her husband Steve catches fire?Exactly. Even that scene is meant to play as Annie’s big redemptive moment, she’s going to sacrifice herself for her son. It’s a beautiful gesture but part of the cruel logic of the film is it’s an empty gesture. Ultimately, it’s not her choice to make. She thinks there’s a design here and she can end things if she sacrifices herself. But there’s no design and there are no rules. There is a malicious logic at play.

Could it have been prevented if she hadn’t been tricked into casting the spell given to her by Joan?The thing is, that scene is ultimately a red herring, and it’s a piece of misdirection. It plays as a séance scene but really it’s a much darker conjuring and they need Annie to take part in it in order to bring it in the house and in order to further this ritual along. When she invites it in, she escalates things. But it would’ve happened anyway, we’re just seeing how it happened. We’re seeing one of the ways it could play out.

There’s a lot of talk about what a bad mother Annie’s mother was. Did she just have kids for the purpose of this ritual?That’s pretty much what is suggested. If you listen to Annie’s speech at the group therapy, there are a lot of keys in her monologue as to what came before this and how far back this goes.

Early on, Charlie cuts the head off a pigeon and makes a strange figurine out of it. Can you elaborate on that?I don’t want to be too obvious but we find later that Charlie has been building these figurines to populate a diorama she’s been building that serves as a shrine to Paimon. It also functions as a metaphor for what Paimon is doing to this family. If you look at the diorama you’ll see they’re headless figurines bowing to a pigeon-headed creature with a crown on its head, which is not far away from what we’re left with in the last scene of the film.

Annie talks about how her mother got “her hooks” into Charlie at an early age. Are we meant to think Charlie is in on it?Charlie is the first successful host for Paimon. It’s transferred from Charlie to Peter at the end.

Because Paimon wants a male body?Exactly.

Is there ever a Charlie or is she Paimon from the moment she’s born?From the moment she’s born. I mean, there’s a girl that was displaced, but she was displaced from the very beginning.

In an odd way, that makes me feel better.(Laughs) That’s nice. See, it’s a happy ending. But obviously, there’s a boy who’s horribly displaced by the end.

http://www.vulture.com/2018/06/explaining-the-end-of-hereditary.html

Is Paimon a real thing?He is! Well, real in the sense that if you believe in hell and the Devil, Paimon is an actual entity that people do worship. Across various sources, he is designated as “a great King,” “one of the chief demons,” and “one of the most significant Angelick Rulers.” He pledges intense fealty to Lucifer, and is often rendered riding atop a camel (as we see in the movie).

There are conflicting points of view on whether or not Paimon and the demon Azazel are the same. According to the Black Witch Coven, “He is one of the demonic princes overseeing the four cardinal directions, West being his domain,” which is why Joan (Ann Dowd) and her minions “looked to the Northwest” to summon him in the movie. According to the Joy of Satan Ministries, “Paimon gives the power to influence and control others,” and that seems to scan with how he operates in Hereditary. However, the Ministries also describe the hell king as “full of energy. Loud noises and bright lights tend to make him more active. He is very colorful and very friendly.” Maybe the “party naked” side of him just got left on the cutting-room floor, because that guy seems like a downer.

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What are the “rewards” Annie’s mom wrote to her about in that note?In the Invocations book that Annie pulls out of her mom’s box of things, a photo opposite the image of Paimon shows a person sitting atop a mound of treasure that says “Riches to the conjurer” in a caption beneath. When Joan speaks to Peter/Charlie at the end and crowns him, she asks Paimon to give her and the other followers “knowledge of all secret things, honor, wealth, and good familiars.” She also asks that he bind all men to them, as the worshippers have bound themselves to Paimon.

Those sound like “riches,” and what with a king of hell being resurrected, being recognized as one of his privileged followers will probably be a lot safer than, well, not. In a description of his abilities, Satan Ministries says Paimon “teaches the arts and sciences” in addition to providing “good familiars and gives one position and honor. He can reveal anything about the Earth and one’s mind.” At least some rulers recognize the necessity of science education!

So is Peter Charlie? Or is Peter Paimon?It’s likely that Charlie never knew she was imbued with the spirit of a king of hell, but as Annie says in her grief-counseling group, her mother got “her hooks” in the young girl from the time she was a baby. (Annie’s mom, Ellen, even insisted on feeding baby Charlie — and one of the miniatures depicts grandma offering the infant her exposed breast — which is probably the most unremarked upon insane thing that happens in Hereditary!) As we learn in the opening eulogy, Annie’s mom had “private rituals” and “private friends,” a lot of which probably revolved around putting Paimon into Charlie.

Clearly, though, the long game was to get Paimon into Peter, since Paimon desires a male host, and Charlie sure didn’t seem like she knew she was a preferred underling of the Morning Star! So Paimon was bound to Charlie, and when that little light flash dissolves into Peter’s limp body after he pitches himself out of the attic window at the end, that’s the spirit entering him. With the transfer complete, Joan seems like she’s ready to let Charlie (in Peter’s body) know about everything that’s been going on, and who she really is.

Remember, too, that Annie’s brother hung himself at the age of 16, leaving a note behind saying that his mother had been trying put people inside of him. Ellen failed to secure her son as a host, and she missed her first shot with Peter since Annie had excommunicated her, so she used Charlie as a temporary vessel until the ritual was able to be completed later on. As Aster told Vulture, “The film is about a long-lived possession ritual that is seen from the perspective of the sacrificial lambs.”

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With that in mind, you can think of the movie’s sinister events as being carried out by an invisible hand, of sorts. That sigil painted above grandma’s headless body in the attic? It’s the actual symbol of Paimon, and it was also carved in the utility pole that tore Charlie’s head off. The leafy bit that Annie brushed off her lip when she was drinking tea at Joan’s apartment? Probably a witches brew of some kind (or another red herring, because by now you’re paranoid!). Peter feeling his throat close up and taking the posture of Charlie’s decapitated body before ramming his head into a desk? His body was being primed for a spiritual takeover. Those scrapbook photos of Ellen wearing a white dress and a veil as she’s being showered with gold coins? That sure looks like a wedding ritual, once you see her framed portrait in the satanic tree house, which has a placard with “Queen Leigh” fixed to the top. Does that mean grandma was spiritually married to her granddaughter and therefore breastfed her husband-grandchild when she was an infant? It seems like it!

Did Annie do any of those weird things — decapitating her dead mom’s body, spying on Peter outside his window — or was it the Paimon cult?Aster told Vulture that, “The audience is supposed to suspect that it might be Annie (Toni Collette), but it is the cult of which Ann Dowd is a very significant part. But you are supposed to feel through the film that there are people on the periphery that are watching this family and are hovering just outside.” Therefore, Annie’s sleepwalking was not resulting in her exhuming bodies and cutting their heads off. It was a red herring! Aster laid a sort of bread crumb trail throughout the whole movie, tipping the audience off that the Grahams were always being watched by associates of Ellen and Joan: the man who smiled at Charlie at Ellen’s funeral, all those “new faces” who mourned her death, the woman waving at Charlie across the street from her school, the person breathing in the dark outside of Peter’s window — all of whom we probably saw naked in the tree house during the finale.

What was with that book setting people on fire?It seems like a safe bet that the book was bound to protect itself. The cult did demonstrate they had a pretty long reach when it came to influencing events, and they even stashed a whole headless body in the Graham’s attic when no one was looking. When Annie tried to destroy the book, it protected itself, but Annie was also essential to completing the possession ritual, so she couldn’t just burst into flames and die. We’ll call that a warning shot by the book.

But Steve (Gabriel Byrne)? He had to get out of the way, and the moment he died, Annie stopped being Annie and started being an agent of Paimon, much like when she channeled Charlie into her own body during the previous seance. When that ring of light flashes over her, that’s Paimon beaming into a new host, as Collette explained to Vulture, “Ari was standing to the side, and he let me watch this person be on fire for a while [laughs] and then he said, ‘Okay. Now, Paimon, the light, is going to enter you.’ We never talked about what that would ever look like or be like. I just did one take and that was it.” And that, ladies and gentlemen, is called acting.

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What about Annie’s sleepwalking, then?Go with us on this one. What if the sleepwalking was Annie’s subconscious way of fighting her mother and the ritual? She tried to set Peter and Charlie on fire once before, but snapped out of it, right? And then in the dream we see where she admits she wanted to abort Peter but her mom wouldn’t allow it — and so she tried to force a miscarriage — she screams at him, “I wasn’t trying to kill you! I was trying to protect you!” Somewhere in Annie’s subconscious, she must have known her children were in danger, and just as her brother had to kill himself to escape Ellen’s clutches when he was a teenager, Annie must have known deep down that as long as the kids were alive they were existentially threatened.

As Collette told Vulture, in that moment Annie is surfacing what’s in her subconscious, which “allows the audience to know that this is a kind of murky, not entirely understood, gray area about the safety of her children and the intention behind the creation of them — and how her mother was involved, right? So it’s still not entirely clear, but there is an indication of some concern there.” Annie realizes after it’s too late, though, that she part of that threat, and must die if she wants to protect her kids. But by that point the toothpaste is out of the tube, and it just isn’t going back in.

Are the decapitations part of Paimon-related lore?Not really. Aster added that element himself, and he’s not into explaining why. As he told Vulture, “I think it would be disingenuous for me to give any sort of intellectual answer. I feel like there are a lot of really good reasons and I like all of them, but uttering them kind of robs them of something. But I do like all the things that they might provoke in somebody.” As for Collette, she has formed her own theory about all the rolling heads. “We’re so attached to our bodies, we’re so attached to the brain and the mind. They’re like the control center, and that once you lose that metaphorically, you become nothing, and therefore you are able to give yourself over to this greater force?” Speculate away!

So why did he use Paimon?No special reason, really. Aster said to Vulture that he just didn’t want to deploy Lucifer again, and hey, that’s fair. If you need a more substantial explanation than that — just let it go. Sometimes creepy is enough.