象牙山不是东北的吗？怎么剧里的男性角色如此的直男癌+大男子主义，还有重男轻女，不尊重女性想法，王小蒙和刘英真是深受其害，王老七的女儿有事业心，事业心强，那么有能力的女人，还是豆制品厂的老板。凭什么任由谢广坤胡作非为，她也是圣母心泛滥。她公公那么对她，她还那么以德报怨。刘英，与王小蒙也一样，同时是东北独生女，但是在夫家地位低，没有话语权。是谁造成的？是她刘英，赵玉田明明不爱人家。刘英非得死皮赖脸的缠着人家，非得结婚，没有王小蒙那种志气，没有事业，事业心不强，妥妥的农村妇女，依赖赵玉田。不被欺负才怪呢！还有赵玉田不喜欢人家，总是联合他爸妈一起，贬低刘英，呲哒她，认为刘英一无是处。就该无条件伺候他，伺候他爸妈，以及沦落为生育机器，不停的生孩子。这种剧是怎么过审的。

复制并强化了第一部的模式，丰富了搞笑内容，强化并增加了脑内特效的部分。喜欢第一部的人恐怕大部分都不会失望，结尾一人遁入黑暗，一人立于光暗之间，又扣回第一部的主题，系列延续于此。出场角色众多各有人设，导演野心不小，应该是会有第三部。

下面说说缺点，第二部推理环节有所减弱，中场就大概猜到隐藏幕后的点在哪了。道理叙述略显生硬，颇有强行灌输之嫌。加强搞笑和特效，削弱推理戏份，这就是让我失望的部分。同时也少了第一部那些让人惊艳的镜头与画面，影片的节奏也过于与第一部相似。花哨太多，灵气不再。

看得出导演有拓宽系列中设定，使之形成电影宇宙的想法。不过第二部却少了一些让人眼前一亮的瞬间，更多的是在复制第一部的成功，可以类比就是去年的王牌特工2:黄金圈。中国少见有这样想拍悬疑侦探系列的导演，值得鼓励，但是第二部这个趋势让人心有担忧，希望导演第三部好好把握吧。

第一次看六点半的电影，起先我以为这将是一个搞笑的电影。慢慢的，更多感情化的东西融入进去，我发现这部电影使我越来越感同，有些真实，有些真实。冷檬饰演的角色是我没有想到的。一直以来以甜美出现在大众面前的冷檬，这次饰演的一个平凡的女人。一个饱受生活折磨的女人。父母的失败婚姻，坐在轮椅上却有点傻乎乎的父亲，被命运折磨的而酗酒麻痹的丈夫，从出生就有不语缺陷的女儿，万般努力却没有回报的自己，成为了这场戏的就扯不断的地方。凭一己之力一次次拉向成功，又一次次被拽了回去。电影播放的同时，我也看到了好多真实生活的写实。能力差劲但关系强硬的巴布蕊，心地善良但无能为力的总导演，饱受生活打压的刘伟，奋笔疾书十年高考的无涯，一直没有放弃的笑笑，深情自由的阿风.......生活当中也许确实没有这样的人，但是总会找到相同的点。故事的最后可能结局并没有那么好，笑笑即便再努力，也败给了内定的巴布蕊。纵使她对这个家再付出，得到的也不过是丈夫的不理解。“我狠，我狠自己为什么不能赢”。不只是片中的台词，也是大多数人内心的声音。

生活有时候就是这么折磨人，明明你已经足够足够努力了，可往往还是感觉停在原地。拳王妈妈最终的选角并没有因为笑笑的辛勤付出而得到一丝回报。付出了很多得到的只有落选。而笑笑因为要做女儿心中的拳王妈妈选择了打拳击比赛。比赛的末尾也没有给笑笑带来戏剧性的“成攻”。片中笑笑一直在说一句话，“会好的，一切都会好的”。是的，人生中可能会遇到极其糟糕的事情，他可能压的你喘不过气，也不会因为你的努力就会出现胜利的曙光。人生不是电影，要做自己的主角，即便成功与否，也要去做自己的事情，去坚持，去做自己。全文算是一个悲剧，但笑笑并没有因为生活是个悲剧便放弃生活。

会好的，一切都会好的

Tips：看好多人说演员实力都没有全部发挥出来，我也觉得有点，影片是有点生硬，但刻画的东西一点也不少。如果非要拿去和国际电影做比较，我承认还需要酝酿一点。（此评价仅代表个人观点。不过还是推荐大家真实看一下。）

当代黑皮书，很难说最大问题是卡司还是故事，大表姐毫无疑问兼顾演技和票房号召力的一线，但确实离蛇蝎美人的角色属性差了十万八千里，故事有反转有铺垫，但内在逻辑强硬不优雅，美式主旋律意识形态不跳格局，太多没有必要的性与爱，也不知道卖点在哪里，叔叔以假乱真的普京脸是唯一拍案叫绝的亮点

剧情和卡司都很丰富，加上大表姐新鲜可人的肉体，应该噱头很足。但最致命的就是男女主角的信任和感情毫无由来，观众自然也就不买帐了。

整部剧有不少bug就不谈了，说下女主的剧情。前期表现比较平淡，藏得比较深，不过从她利用姊妹和处置二奶的手法，就能看出端倪，这人并不是善类而且预谋着什么。虽然本来就是黑的，不择手段但也不至于会杀人放火什么人。觉得写得不好的是后期的黑化，纯属是意外的发展，越踩越深这角色才无法回头。

大家有没留意让女主做得越来越狠的原因，其实都是些意外，你意外一次就好了，两次三次我觉得很水，感觉编剧是没什么想象力了吗，或许真有那么巧合的事情？这样的剧本个人感觉有点生硬了。

第一次是女主软禁二奶，二奶逃跑过程中和女儿摔死了。虽然不是女主下的杀手，但是女主的处置手段有着不可推卸的责任，已经是犯罪污点了。第二次是女主和自己老公撞车，这时女主因为自己的利益没有救自己的老公，虽说不一定能救。假设没有这场意外，女主是不是已经玩完了呢，还是说上天帮了女主？或许是天网恢恢，更多的麻烦找上了女主，但是并没有将女主惩治于法，而是因为各种意外意外让女主更多的犯罪。第三次是克洛伊的朋友因为被追杀意外死亡，第四次是克洛伊的爸爸发现女主的罪行，纠缠过程中意外死亡，女主还求弟弟帮她非法处理尸体。除了一些手段外，后面女主比较主动去做的其实也就帮马老换药，并且在病床前把他气死。

如果说剧情是女主的主动权比较多，那样会比较精彩。但现在是只是因为各种的意外去让女主越描越黑，这样比起之前深思熟虑的剧情弱太多了。因为这些意外打破了她的部署，加快了剧情的进度。想看女主怎么赢的剧情，变成了看女主怎么输的剧情，因为这样发展观众不难猜到女主必跪。剧本最后赶着收尾，男主一集反水，女主无可奈何，像是明明有优势却自己投降了。女主还死了，虽然不是意外，但是对观众来说，这应该挺意外吧。不知道编剧是不是香港的，合拍剧还跟tvb一个尿性。凡是那些boss，最后就没几个受法律制裁的，要么被杀要么就意外死。

最后女主也是心大，儿子不是交给父母养，而是交给了自己害死别人爸爸和朋友的姊妹，这剧情神了。

With a helicopter circling over two abandoned boats in the ocean, the floating corpses at the beginning bring about a total recall of the migrant/refugee crisis in the 2010s. Also coming by boat and ending their lives in the ocean, the Asian refugees disappeared into the void zone amidst the world of boundaries. In the Suspended Step of the Stork, Angelopoulos gives the most poetic depiction of the most powerful socio-political force since the twentieth century: the border. The “stork” is a metaphor for human beings, the very moving agents, and the “suspended step” shows none but the modern plight of human beings in the face of their own creation – “One more step, one will be somewhere else. Or die.” Hence the title of the film, in its most frightening and saddest meaning.

The film revolves around two central characters, a former Greek politician who now lives in despair and incognito and a documentary director who wishes to capture the condition of refugees. Their storylines intersect in a town near the border that separates Albania from Greece, named by its locals as “The Waiting Room” as thousands of illegal emigrants wait here until the Greek government allows them to leave. Although the name of the town suggests its temporary nature, it is indeed the temporary home, if not a permanent one, to the refugees. Here, the uncertainty about how long these illegal temporary residents would actually stay in “The Waiting Room” hints at the ambiguous distinction between “home” and “elsewhere”. Although they have successfully crossed the borders, they are still left in a self-contained “elsewhere” made by borders. How many borders do they need to cross before they reach “home”? It is with this ambiguity that Angelopoulos is able to raise his central question in the words of the documentary director. “When does one decide to leave? How? And where to?”

Among those stories in “The Waiting Room”, the most impressive comes from the wedding between a Greek bride and an Albanian groom, taking place on both sides of the river which divides not only the two countries but also thousands of families. The wedding is gently shot with a silent long-take yet with an extremely powerful tension. It shows a figurative dimension of the separation created by the borders, for they are not only dividing people physically (by setting geographical boundaries crossing which one will die) and politically (by providing new meanings and aspects of one’s identity) but also separating one’s present from his or her past. The bride says on the eve of her wedding that, “My husband and I grew up in the same village. One night he’ll cross the river and come take me.” This is largely a shared story among those thousands of refugees in the town. By leaving their “home” and crossing the border, they also leave their past behind. Here, the border is both a deadly frontier that divides wives from husbands and a ruthless boundary drawn within one’s personal experiences. With this assumed dimension, the audience sees how the means of life are made possible in an extreme condition where the ends of life no longer exist.

It is only in light of this dimension can one fully understand the other half of the film, the Greek politician’s disappearing by crossing the border. While all the majority keep their steps suspended in the air, waiting to be accepted to stay or be allowed to leave, he takes a step forward to the “home” at the cost of his past and identity. A believer of the universal ideal of brotherhood, he presents a more despairing yet hopeful interpretation of the “Storks” by embracing the collective dream and taking actions accordingly. And this action, risky and idealized as it is, might also be the answer that Angelopoulos will offer to his earlier question(s), and with this assumed attitude, one may find Suspended Step a work with stirring idealism, intense seriousness, and great courage.