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本来就是冲着nino去的 我担可是影帝哦(′-ω-`) 听着名字感觉有点像之前emmm 唐嫣谢霆锋 决战食神 ??而且都是17年的电影 但其实差的还是很多的 。。。。这是个。。。反战电影 而且nino的主要是串联剧情作用 戏份说不上多 但表情的变化还是很到位的都说完nino了就顺便先把演员说了 主要都是西岛叔在演 演一个厨师 在关东军要求下 制作一份超越满汉全席的菜单 当他历经万苦终于成功时
本来就是冲着nino去的 我担可是影帝哦(′-ω-`) 听着名字感觉有点像之前emmm 唐嫣谢霆锋 决战食神 ??而且都是17年的电影 但其实差的还是很多的 。。。。这是个。。。反战电影 而且nino的主要是串联剧情作用 戏份说不上多 但表情的变化还是很到位的都说完nino了就顺便先把演员说了 主要都是西岛叔在演 演一个厨师 在关东军要求下 制作一份超越满汉全席的菜单 当他历经万苦终于成功时 被要求以此宴请天皇时在菜中下毒 从而嫁祸他的中国助手为中国间谍 以此来引发中日冲突 给日军侵华以借口 他得得知后放走了助手 烧毁了食谱 被关东军少将枪毙 而他女儿得以幸存 却在后来亦因食谱而死 他的外孙(nino)沦为孤儿 迷失自我 踏上寻找食谱寻找自我的道路 好了。。。剧透完了 ??西岛叔演认真有啥好说的 演自己哦 就像章子怡演宫二一样 刚哥大多数镜头都在炒米饭 炒黄金米饭 炒蛋包饭 ?? 颠锅六得飞起 就和学校旁边炒米饭大叔一样 ?? emmm 之前一直对宫崎葵不熟 也没get到她的颜 本次她穿和服突然就很有灵气 就突然想到了小林绿子 ??看完搜原型的时候才看到导演是泷田洋二郎 emmm 这个人有点复杂 色情片出身 什么片都拍过 经典也有一些 水准也还可以 emmm 也说不出来有啥风格 可能就是熟练 擅长?。。。 电影剧情本身 emm 其实包括原作小说地位都有些尴尬 写的是中日友好 但它有日本人对自身技术文明的骄傲 有日本民众对为天皇效力的光荣 对“民族融合”的赞叹和接纳的胸怀(不管是被政府蛊惑或者是什么的) 它充分地表达了军国时期大和民族的民族自豪感 但同时 它否定了关东军侵略别国的行径 通过对中国助手 关东军行为的表现 承认了关东军在中国的暴行 中国人民受到的屈辱 因此 它表现的是从一个日本厨师视角的真实历史 没有对双方进行多余的丑化或美化 同时表现出当时东北各国人间关系的复杂性 不能以民族观一概而论 因此 当我们不可避免得带着民族主义的眼镜观看时 会变得别扭 会挑剔 会降低对电影 对原著的评价(没看过原著 但据说原著是比电影好看的) 其他的比如电影双线的记叙手法其实已经见怪不怪 抛开那些带有个人色彩的东西 电影本身确实是一部佳作
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1991年,麦当雄电影公司一部以大毒枭吴锡豪为原型的电影《跛豪》上映,创下票房3800多万的传奇成绩,也带动了香港导演拍摄枭雄系列电影的潮流。
而王晶导演在1992年上映的这部以何鸿燊、霍英东、叶汉等人为原型的《赌城大亨之新哥传奇》,就是其中之一。
昨天,98岁的一代赌王何鸿燊去世。或
1991年,麦当雄电影公司一部以大毒枭吴锡豪为原型的电影《跛豪》上映,创下票房3800多万的传奇成绩,也带动了香港导演拍摄枭雄系列电影的潮流。
而王晶导演在1992年上映的这部以何鸿燊、霍英东、叶汉等人为原型的《赌城大亨之新哥传奇》,就是其中之一。
昨天,98岁的一代赌王何鸿燊去世。或许我们可以从这部老片里,多少窥见些那个动荡时代里乱世枭雄们的成长史。
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看过不少有关藏地风土人情的剧情片、纪录片,也看过不少惊悚悬疑的恐怖片,但以藏地为事发地,以当地居民为主人公的惊悚悬疑恐怖电影,却难得一见。《圣山村谜局》就很好地将一个惊悚、悬疑又略带恐怖的连环命案,与藏地的日常生活、风物人情有机地结合在了一起,为观众献上了一道颇具特色的烧脑大戏,观影体验非常别样,也非常难忘。
看过不少有关藏地风土人情的剧情片、纪录片,也看过不少惊悚悬疑的恐怖片,但以藏地为事发地,以当地居民为主人公的惊悚悬疑恐怖电影,却难得一见。《圣山村谜局》就很好地将一个惊悚、悬疑又略带恐怖的连环命案,与藏地的日常生活、风物人情有机地结合在了一起,为观众献上了一道颇具特色的烧脑大戏,观影体验非常别样,也非常难忘。
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我的评价是这样的:【超一流服化道,一流选角制作,但是真的没有讲好故事……】和《海上牧云记》、《天盛长歌》一个味,讲真这三部剧都是播前让我特别特别期待的,但是看最多5集都看不下去……
评论区吹爆制作、选角、道具的我理解,因为我也吹,我给这些方面单独打200分,但这不能构成我给这部剧整体高分的理由。【因为这是一个剧情片不是吗?讲好故事是最基本的不是吗?】马亲王的原著本身就是个可读性很
我的评价是这样的:【超一流服化道,一流选角制作,但是真的没有讲好故事……】和《海上牧云记》、《天盛长歌》一个味,讲真这三部剧都是播前让我特别特别期待的,但是看最多5集都看不下去……
评论区吹爆制作、选角、道具的我理解,因为我也吹,我给这些方面单独打200分,但这不能构成我给这部剧整体高分的理由。【因为这是一个剧情片不是吗?讲好故事是最基本的不是吗?】马亲王的原著本身就是个可读性很强的小说,没有刻意卖弄文人的矫情和各种小众的实验理念,纯靠剧情和人物塑造取胜,按说挺适合改商业剧情片的……但主创是怎么把这样的底子拿来就拍了个MV呢?
把故事讲好,我们至少要有主有次、故事线清晰、主要角色丰满突出、推进节奏能够调动人,但我看了5集,主要还是要借着对小说的记忆来理清情节。感觉导演有点太想玩风格了,所以即便是这么一个标准商业化的小说,拿来也要来个实验。尤其是台词,感觉是照着《刺客聂隐娘》学的,不是说半文言(实际是古白话)的体,而是不接地气、不符合生活常识的对话逻辑:没头没尾、缺少契机、飘在空中,每一句都打磨过,但放到一起就是不自然(可能这也是所谓“大片质感”的一部分?)。同样是古白话的作品,《红楼梦》就不会这么讲话,好作品还是要先让人物有血有肉,然后用情节推着他讲出他那种情况下必然讲的话,这一点其实小说本来已经做到了。
好作品应该表里如一,尤其商业作品。故事本身走的是流行的、让大家看剧情的,那就讲得让人舒服点,这样才能沉浸到情节里;至于想要玩些概念或者风格化的实验,可以找些本身也有一些艺术标榜的作品。王家卫拍《东邪西毒》,要知道一个前提是这个故事本身已经不是金庸故事了,如果就要拍出《射雕》其中一章的情节,还用这样的影视语言显然是拧巴的……
讲真,不讲视觉上的事只说故事,找个人来把小说正常念出来,故事讲述都比这个剧好。
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So I stopped at a Jack in the Box on the way here, and the girl behind the counter said, “Hiya! Are you having an awesome day?” Not, “How are you doing today?” No. “Are you having an So I stopped at a Jack in the Box on the way here, and the girl behind the counter said, “Hiya! Are you having an awesome day?” Not, “How are you doing today?” No. “Are you having an awesome day?” Which is pretty… shitty, because it puts the onus on me to disagree with her, like if I’m not having an “awesome day,” suddenly I’m the negative one. Usually when people ask how I’m doing, the real answer is I’m doing shitty, but I can’t say I’m doing shitty because I don’t even have a good reason to be doing shitty. So if I say, “I’m doing shitty,” then they say, “Why? What’s wrong?” And I have to be like, “I don’t know, all of it?” So instead, when people ask how I’m doing, I usually say, “I am doing so great.” But when this girl at the Jack in the Box asked me if I was having an awesome day, I thought, “Well, today I’m actually allowed to feel shitty.” Today I have a good reason, so I said to her, “Well, my mom died,” and she immediately burst into tears. So now I have to comfort her, which is annoying, and meanwhile, there’s a line of people forming behind me who are all giving me these real judgy looks because I made the Jack in the Box girl cry. And she’s bawling, and she’s saying, “I’m sorry, I’m so sorry,” and I’m like, “It’s fine. It’s fine.” I mean, it’s not fine but, you know, it’s… fine. And I would like to order a Double Jack Meal, and I’ve kinda got somewhere to be, so maybe less with the crying and more with the frying, huh? [inhales] And the girl apologizes again and she offers me a free churro with my meal. And as I’m leaving, I think, “I just got a free churro because my mom died.” No one ever tells you that when your mom dies, you get a free churro. [people murmuring] [clears throat] Anyway, I’m sorry, that’s not part of the… [clears throat] All right. Okay, here we go. Let’s do this. Here I am, BoJack Horseman, doing a eulogy, let’s go. Hey, piano man, can I get a, like an organ flourish? [organ plays] Nicely done. You know, I was a little worried I wouldn’t have the right accompaniment today. I guess it’s a good thing my mom was an organ donor! [rimshot plays] What happened to the organ? [horn ‘oogahs’] Okay, why just leave the comedy to the professionals? Okay? This is a funeral, sir, for my mother. Can you show a little respect? [trumpet whines] I’ll take it. Beatrice Horseman, who was she? What was her deal? Well, she was a horse. Uh, she was born in 1938. She died in 2018. One time, she went to a parade, and one time, she smoked an entire cigarette in one long inhale. I watched her do it. Truly a remarkable woman. [rustling] Lived a full life, that lady. Just, all the way to the end, which is, uh, now I guess. Really makes you think, though, huh? Life, right? Goes by, stuff happens. Then you die. Okay, well that’s my time, you’ve been great! Tip your waitress! No, I’m just kidding around, there’s no waitress. But seriously, that’s all I have to say about my mother. No point beating a dead horse, right? So… [inhales] Now what? I don’t know. Mom, you got any ideas? Anything? Mom? No? Nothing to contribute? Knock once if you’re proud of me. Can I just say how amazing it is to be in a room with my mother, and I can just talk and talk without her telling me to shut up and make her a drink? Hey, Mom, knock once if you think I should shut up. No? You sure? I mean, I don’t want to embarrass you by making this eulogy into a me-logy, so, seriously, if you wanted me to sit down and let someone else talk, just knock. I will not be offended. No? Your funeral. Sorry about the closed casket, by the way. She wanted an open casket, but uh, you know, she’s dead now, so who cares what she wanted? No, that sounds bad. I’m sorry. I-I think that if she could’ve seen what she looked like dead, she’d agree it’s better this way. She looked like this. [groaning] [mourners gasping] Kinda like a pissed-off toy dinosaur. The coroner couldn’t get her eyes closed, so now her face is forever frozen in a mask of tremendous horror and anguish. Or as my mom called it, Tuesday! Tuesday! My mom called it Tuesday. [woman coughs] Hey, Mom, what did you think of that joke? You like that? You never did care for my comedy. [clears throat] Here’s a story. When I was a teenager, I performed a comedy routine for my high school talent show. There was this, uh, cool jacket that I wanted to wear because I thought it would make me look like Albert Brooks. For months, I saved up for this jacket. But when I finally had enough, I went to the store and it was gone. They had just sold it to someone else. So, I went home and I told my mother, and she said, “Let that be a lesson. That’s the good that comes from wanting things.” She was really good at dispensing life lessons that always seemed to circle back to everything being my fault. But then, on the day of the talent show, my mother had a surprise for me. She had bought me the jacket. Even though she didn’t know how to say it, I know this meant that she loved me. Now that’s a good story about my mother. It’s not true, but it’s a good story, right? I stole it from an episode of Maude I saw when I was a kid, where she talks about her father. I remember when I saw it, thinking, “That’s the kind of story I want to tell about my parents when they die.” But I don’t have any stories like that. All I know about being good, I learned from TV. And in TV, flawed characters are constantly showing people they care with these surprising grand gestures. And I think that part of me still believes that’s what love is. But in real life, the big gesture isn’t enough. You need to be consistent, you need to be dependably good. You can’t just screw everything up and then take a boat out into the ocean to save your best friend, or solve a mystery, and fly to Kansas. You need to do it every day, which is so… hard. When you’re a kid, you convince yourself that maybe the grand gesture could be enough, that even though your parents aren’t what you need them to be over and over and over again, at any moment, they might surprise you with something… wonderful. I kept waiting for that, the proof that even though my mother was a hard woman, deep down, she loved me and cared about me and wanted me to know that I made her life a little bit brighter. Even now, I find myself waiting. Hey, Mom, knock once if you love me and care about me and want me to know I made your life a little bit brighter. [owl chirping] My mother did not go gentle into that good night. She went clawing and fighting and thrashing, hence the face. [groaning] [mourners gasping] If you’d seen her, I swear to God the only thing you’d be thinking about right now is that I am nailing this impression. [woman clears her throat] [chairs squeak] I was in the hospital with her those last moments, and they were truly horrifying, full of nonsencial screams and cries, but there was this moment, this one instant of strange calm, where she looked in my direction and said, “I see you.” That’s the last thing she said to me. “I see you.” Not a statement of judgment or disappointment, just acceptance and the simple recognition of another person in a room. “Hello there. You are a person. And I see you.” Let me tell you, it’s a weird thing to feel at 54 years old, that for the first time in your life your mother sees you. It’s an odd realization that that’s the thing you’ve been missing, the only thing you wanted all along, to be seen. And it doesn’t feel like a relief, to finally be seen. It feels mean, like, “Oh, it turns out that you knew what I wanted, and you waited until the very last moment to give it to me.” I was prepared for more cruelty. I was sure that she would get in one final zinger about how I let her down, and about how I was fat and stupid and too tall to be an effective Lindy-hopper. How I was needy and a burden and an embarrassment—all that I was ready for. I was not ready for “I see you.” Only my mother would be lousy enough to swipe me with a moment of connection on her way out. But maybe I’m giving her too much credit. Maybe it wasn’t about connection. Maybe it was a… maybe it was an “I see you,” like, uh, “I see you.” Like, “You might have the rest of the world fooled, but I know exactly who you are.” That’s more my mom’s speed. Or maybe she just literally meant “I see you. You are an object that has entered my field of vision.” She was pretty out of it at the end, so maybe it’s dumb to try to attribute it to anything. [woman sighs] Back in the 90s, I was in a very famous TV show called Horsin’ Around. [man coughs] Please hold your applause. And I remember one time, a fan asked me, “Hey, um, you know that episode where the horse has to give Ethan a pep talk after Ethan finds out his crush only asked him to the dance because her friends were having a dorkiest date contest? In all the shots of the horse, you can see a paper coffee cup on the kitchen counter, but in the shots of Ethan, the coffee cup’s missing. Was that because the show was making a statement about the fluctuant subjectivity of memory and how even two people can experience the same moment in entirely different ways?” And I didn’t have the heart to be, like, “No, man, some crew guy just left their coffee cup in the shot.” So instead, I was, like… “Yeah.” And maybe this is like that coffee cup. Maybe we’re dumb to try to pin significance onto every little thing. Maybe when someone says, “I see you,” it just means, “I see you.” Then again, it’s possible she wasn’t even talking to me because, if I’m being honest, she wasn’t really looking at me. She was looking just past me. There was nobody else in the room, so I want to think she was talking to me, but, honestly, she was so far gone at that point, who knows what she was seeing? Who were you talking to, Mom? [sighs] Not saying, huh? Staying mum? No rimshot there? God, whatever I’m paying you, it’s too much. Maybe she saw my dad. My dad died about ten years ago of injuries he sustained during a duel. When your father dies, you ask yourself a lot of questions. Questions like, “Wait, did you say he died in a duel?” and “Who dies in a duel?” The whole thing was so stupid. Dad spent his entire life writing this book, but he couldn’t get any stores to carry it or any newspapers to review it. Finally, I guess this one newspaper thought he was pretty hilarious, because they ran a review and tore him to shreds. So my father, ever the proud Mary, decided he would not stand for this besmirchment of his honor. He claimed the critic didn’t understand what it meant to be a man, so he demanded satisfaction in the form of pistols at dawn. He wrote the paper this letter, saying anyone who didn’t like his book, he would challenge to a duel, anyone in the world. He’d even pay for airfare to San Francisco and a night in a hotel. Well, eventually this found its way to some kook in Montana, who was as batshit as he was and took him up on the offer. They met at Golden Gate Park and agreed: ten paces, then shoot. But in the middle of the ten paces, Dad turned to ask the guy if he’d actually read the book and what he thought, but, not looking where he was going, tripped over an exposed root and bashed his head on a rock. [murmur] I wish I’d known to go to Jack in the Box then. Maybe I could have gotten a free churro. It would’ve been nice to have something to show for being the son of Butterscotch Horseman. My darling mother gave the eulogy. My entire life I never heard her say a kind word to or about my father, but at his funeral she said, “My husband is dead, and everything is worse now.” “My husband is dead, and everything is worse now.” I don’t know why she said that. Maybe she felt like that’s the kind of thing you’re supposed to say at a funeral. Maybe she hoped one day someone would say that about her. “My mother is dead, and everything is worse now.” Or maybe she knew that he had frittered away all her inheritance, and replaced it with crippling debt, which is a pretty shitty thing to leave your widow with. “Bad news, you lost a husband, but don’t worry, you also lost the house!” Maybe Mom knew she’d have to sell all her fancy jewelry and move into a home. Maybe that’s what she meant by “everything is worse now.” Is that what you meant, Mom? I gotta say, I’m really carrying this double act. At least with Penn and Teller, the quiet one does card tricks. Hey, piano man, when I say something funny to my mom, how about you give me one of those rimshots? [rimshot plays] Yeah, but not now. When I say something funny. Like, okay. What’s the difference between my mother and a disruptive expulsion of germs? One’s a coughin’ fit and the other fits a coffin! That’s an example of a funny thing. [rimshot plays] Thank you. Let’s try again. Hey, Mom. What’s the difference between my mother and a bunch of Easter eggs? One gets carried in a basket, the other gets buried in a casket! [rimshot plays] Ready for one more? Last one. What’s the difference between a first-year lit major and my mother, Beatrice Horseman? One is decently read, and the other’s a huge bitch! [woman gasps] [murmurs] Yeah, might have gone a little too far with that one. That one might’ve been a little too “my mom’s a huge bitch” for the room. I’m sorry, Mother. You’re not a huge bitch. You were a huge bitch… and now you’re dead. [woman sighs] You know, the first time I ever performed in front of an audience, it actually was, uh, with my mom. She used to put on these shows with her supper club in the living room and she used to make… [inhales] She used to make me sing “The Lollipop Song.” [organ playing tune] Those parties, they were really something. There were skits and magic acts, and ethnically insensitive vaudeville routines, and the big finale was always a dance my mother did. She had this beautiful dress that she only brought out for these parties, and she did this incredible number. It was so beautiful and sad. Dad hated the parties. He’d lock himself in the study, and bang on the walls for us to keep it down, but he always came out to see Mom dance. He’d linger in the doorway, scotch in hand, and watch in awe, as this cynical, despicable woman he married… took flight. And as a child who was completely terrified of both my parents, I was always aware that this moment of grace, it meant something. We understood each other in a way. Me and my mom and my dad, as screwed up as we all were, we did understand each other. My mother, she knew what it’s like to feel your entire life like you’re drowning, with the exception of these moments, these very rare, brief instances, in which you suddenly remember… you can swim. [flashback] [partygoers laughing] [classical music playing] But then again, mostly not. Mostly you’re drowning. She understood that, too. And she recognized that I understood it. And Dad. All three of us were drowning, and we didn’t know how to save each other, but there was an understanding that we were all drowning together. And I would like to think that that’s what she meant when we were in the hospital and she said, “I see you.” You know, the weird thing about both your parents being dead is it means that you’re next. I mean, you know, obviously it’s not like there’s a waitlist for dying. Any one of us could get run over by a Snapchatting teen at any moment. And you would think that knowing that would make us more adventurous, and kind, and forgiving. But it makes us small, and stupid, and petty. I actually had a near-death experience recently. A stunt went bad and I fell off a building. I’m an actor, I do my own stunts. I’m on this new show Philbert. I’m Philbert. Star of the show. It hasn’t come out yet, but it’s already getting Emmy buzz. Oh, speaking of buzz… [inhales] I’m supposed to take two of these every morning, but my days are so screwed up ‘cause of the shooting schedule, I don’t even know what morning means anymore. There’s a joke in there somewhere, about a guy who’s been to so many funerals, he doesn’t even know what mourning means anymore. Let you guys figure that one out for yourselves. [gulps] Anyway, you know what I thought, when I was falling off the building and I went into panic mode? The last thing that my stupid brain could come up with before I died? “Won’t they be sorry.” Cool thought, brain. [rimshot plays] No, that wasn’t… would you just… dial it back, all right? I don’t even know what “they” I wanted to be sorry. My mom, even before she died, could barely remember who I was. And of course, my dad’s dead. The last conversation I ever had with him was about his novel. He was so certain this book was his legacy. Maybe he thought it would vindicate him for all the shitty things he ever did in his stupid worthless life. Maybe it did, I don’t know. I never read it, because why would I give him that? I used to be on this TV show called Horsin’ Around. Seriously, though, hold your applause. [man coughs] Well held. It was written by my friend Herb Kazzaz, who’s also dead now, and it starred this little girl named Sarah Lynn. And it was about these orphans. And early on, the network had a note, “Maybe don’t mention they’re orphans so much, because audiences tend to find orphans sad and not relatable.” But I never thought that the orphans were sad. I-I always thought they were lucky, because they could imagine their parents to be anything they wanted. They had something to long for. Anyway, we did this one season finale, where Olivia’s birth mother comes to town. And she was a junkie, but she’s gotten herself cleaned up, and she wants to be in Olivia’s life again. And of course, she’s like a perfect grown-up version of Olivia, and they go to the mall together and get her ears pierced like she’s always wanted and—sorry, spoiler alert for the season six finale of Horsin’ Around, if you’re still working your way through it. Anyway, the horse tries to warn her, “Be careful, moms have a way of letting you down.” But Olivia just thinks the horse is jealous, and when the mom says she’s moving to California, Olivia decides to go with her. And the network really juiced the cliffhanger: “Is Olivia gone for good?” But of course, because it’s a TV show, she was not gone for good. Of course, because it’s a TV show, Olivia’s mother had a relapse and had to go back to rehab, so Olivia had to hitchhike all the way home, getting rides from Mr. T, Alf, and the cast of Stomp. Of course, that’s what happened. Because, what are you gonna do, just not have Olivia on the show? You can’t have happy endings in sitcoms, not really, because, if everyone’s happy, the show would be over, and above all else, the show… has to keep going. There’s always more show. And you can call Horsin’ Around dumb, or bad, or unrealistic, but there is nothing more realistic than that. You never get a happy ending, ‘cause there’s always more show. I guess until there isn’t. [chuckles] My mom would hate it if she knew that I spent so much time at her funeral talking about my old TV show. Or maybe she’d think it was funny that her idiot son couldn’t even do this right. Who knows? She left no instructions for what she wanted me to say. All I know is she wanted an open casket, and her idiot son couldn’t even do that right. I’m not gonna stand up here and pretend I ever understood how to please that woman, even though so much of my life has been wasted in vain attempts to figure it out. But I keep going back to that moment in the ICU when she looked at me, and… “I-C-U.” “I… see… you.” Jesus Christ, we were in the intensive care unit. She was just reading a sign. My mom died and all I got was this free churro. You know the shittiest thing about all of this? Is when that stranger behind the counter gave me that free churro, that small act of kindness showed more compassion than my mother gave me her entire goddamn life. Like, how hard is it to do something nice for a person? This woman at the Jack in the Box didn’t even know me. I’m your son! All I had was you! [inhales] I have this friend. And right around when I first met her, her dad died, and I actually went with her to the funeral. And months later, she told me that she didn’t understand why she was still upset, because she never even liked her father. It made sense to me, because I went through the same thing when my dad died. And I’m going through the same thing now. You know what it’s like? It’s like that show Becker, you know, with Ted Danson? I watched the entire run of that show, hoping that it would get better, and it never did. It had all the right pieces, but it just—it couldn’t put them together. And when it got canceled, I was really bummed out, not because I liked the show, but because I knew it could be so much better, and now it never would be. And that’s what losing a parent is like. It’s like Becker. Suddenly, you realize you’ll never have the good relationship you wanted, and as long as they were alive, even though you’d never admit it, part of you, the stupidest goddamn part of you, was still holding on to that chance. And you didn’t even realize it until that chance went away. My mother is dead, and everything is worse now, because now I know I will never have a mother who looks at me from across a room and says, “BoJack Horseman, I see you.” But I guess it’s good to know. It’s good to know that there is nobody looking out for me, that there never was, and there never will be. No, it’s good to know that I am the only one that I can depend on. And I know that now and it’s good. It’s good that I know that. So… it’s good my mother is dead. [gulps, sighs] Well. No point beating a dead horse. Beatrice Horseman was born in 1938, and she died in 2018, and I have no idea… what she wanted. Unless she just wanted what we all want… to be seen. Is this Funeral Parlor B? —— from Reddit
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等了一周终于等到了纪录片的更新,我赶紧瓜子薯条爆米花顺便搬好小板凳,我觉得我已经是李勇医生的忠实粉丝了!看第一集的时候就对李勇医生印象深刻,站在和孩子平等的角度温柔的告诉孩子遇到困难不要放弃,要坚持下去相信自己。在得知浩浩的梦想是研究火箭之后,又在手术后贴心的准备了带有火箭模型的蛋糕,真的一秒入坑!第四集,他又带着他的反转魅力向我们走来了!面对可能患有恶性肿瘤情况
等了一周终于等到了纪录片的更新,我赶紧瓜子薯条爆米花顺便搬好小板凳,我觉得我已经是李勇医生的忠实粉丝了!看第一集的时候就对李勇医生印象深刻,站在和孩子平等的角度温柔的告诉孩子遇到困难不要放弃,要坚持下去相信自己。在得知浩浩的梦想是研究火箭之后,又在手术后贴心的准备了带有火箭模型的蛋糕,真的一秒入坑!第四集,他又带着他的反转魅力向我们走来了!面对可能患有恶性肿瘤情况危机的小孩子哈哈,李勇医生立刻召集全院大会诊,期间他认真的倾听其他医生对于哈哈病情的分析,时而点头认可时而沉默。最后在深思熟虑后他也提出了自己的想法
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看完《可可西里》心里缠绕着那份久久不能磨灭的心痛。在这个物欲横流的世界,无奈的现实终归无奈,谁也改变不了它的存在。导演之所以用纪实性的电影安排剧情,很大程度上想唤醒我们所有的人类,没有过多的剧情冲突而是简单的顺序拍摄下来,也没有跳跃性的剪拼,目的在于能紧紧抓住观众的心灵,让观众在残酷的现实中默默的被感染。影片在画面确实不错,基本上糅合了纪实性作品应存在的价值。不管是影片的开始还是结局都是安静
看完《可可西里》心里缠绕着那份久久不能磨灭的心痛。在这个物欲横流的世界,无奈的现实终归无奈,谁也改变不了它的存在。导演之所以用纪实性的电影安排剧情,很大程度上想唤醒我们所有的人类,没有过多的剧情冲突而是简单的顺序拍摄下来,也没有跳跃性的剪拼,目的在于能紧紧抓住观众的心灵,让观众在残酷的现实中默默的被感染。影片在画面确实不错,基本上糅合了纪实性作品应存在的价值。不管是影片的开始还是结局都是安静的让人心疼,多了一份冷静。影片一点都不矫情、不做作,明确的看到一个冷静稳重和拥有极大震撼力的作品。这也是一部电影的希望和见证现实的有力处理。更能彰显影片的真实价值和现实意义的呼声。
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佢唔叫陈法拉
也不叫孟广美
更不叫罗慧娟
她叫陈法蓉。
我一向是这样认为的,德先生是经济发展的必要条件。但是我们的国情,历史,以及文化的不同,导致了我们的rules是有很大区别的。
我不知道为什么,我面临着好大的0压力,这个不对劲。
你说是先分蛋糕还是先把蛋糕??做大,这个问题很有意思。当然了,抛却背后
佢唔叫陈法拉
也不叫孟广美
更不叫罗慧娟
她叫陈法蓉。
我一向是这样认为的,德先生是经济发展的必要条件。但是我们的国情,历史,以及文化的不同,导致了我们的rules是有很大区别的。
我不知道为什么,我面临着好大的0压力,这个不对劲。
你说是先分蛋糕还是先把蛋糕??做大,这个问题很有意思。当然了,抛却背后的东西不说??,你要是不把蛋糕做大就去搞不患寡而患不均,只会将杀富济贫的历史重演,那么会出现争权夺利者的阴谋得逞。
可是你要是做大了,不分呢?谁能管的住你们?我看谁也管不住。资本主义国家不也考虑贫下中农的生活问题吗?我们现在只不过不敢搞得那么大张旗鼓而已。
反正不管怎么说,我是爱国的。那些人想做中产阶级,我必须要技高一筹哦。
保肝,保命,保父母。
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每一次故事的开始都是由那只倒霉的松鼠引起,真想帮它把松果抓住。原本是三只动物的故事,可电影赋予了他们很多人文的东西,团结,信任,勇敢,友爱这些人类不经意间抛弃的东西。拥有强大责任心的长毛象,帅帅的酷酷的剑齿虎,萌萌的贱贱的树獭,三个伙伴组成的小团队完成了自己的目标,把人类的孩子送回父母的怀抱,即使是人类给他们带来过伤害。
每一次故事的开始都是由那只倒霉的松鼠引起,真想帮它把松果抓住。原本是三只动物的故事,可电影赋予了他们很多人文的东西,团结,信任,勇敢,友爱这些人类不经意间抛弃的东西。拥有强大责任心的长毛象,帅帅的酷酷的剑齿虎,萌萌的贱贱的树獭,三个伙伴组成的小团队完成了自己的目标,把人类的孩子送回父母的怀抱,即使是人类给他们带来过伤害。
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“走进这间房子,对于我来说,比回到我的家更容易!”全片印象最深刻的是bill在进入别墅前说出的这句话。看许多恐怖电影的时候,常常会面对一个问题,就是主角为什么要作死?为什么明知道进房子可能会死,还要进去?而一般的恐怖电影,给予的回答是,因为年轻,因为想要寻找刺激,因为要证明自己这种让人感觉主角不作死就不会死的回答。但是小丑回魂里的回答是,因为比起这个现实世界给予孩子的残忍,死亡这个恐惧看起来
“走进这间房子,对于我来说,比回到我的家更容易!”全片印象最深刻的是bill在进入别墅前说出的这句话。看许多恐怖电影的时候,常常会面对一个问题,就是主角为什么要作死?为什么明知道进房子可能会死,还要进去?而一般的恐怖电影,给予的回答是,因为年轻,因为想要寻找刺激,因为要证明自己这种让人感觉主角不作死就不会死的回答。但是小丑回魂里的回答是,因为比起这个现实世界给予孩子的残忍,死亡这个恐惧看起来不值一提!房子里的,是可怕的小丑,最坏的结果,是死亡!而房子外面,每一个孩子都必须面对属于自己的恐惧,这份恐惧,是校园暴力!是种族歧视!是面对逝去弟弟的愧疚!是变态父亲的迷恋!是这个世界的恶意中伤与流言蜚语!是父母因火灾的意外丧生!和这些比起来,小丑与死亡所带来的恐惧变得不值一提!因此,在我看来,这群孩子第一次进屋,是逃避!这个世界有太多甩不去的阴影,和面对这些阴影相比,也许面对死亡更容易!第二次进屋,看似是为了Beverly而战,而事实是,每一个主角都下定决心,要去面对自己和这个世界,小丑因恐惧而生,战胜恐惧,小丑也就不堪一击!在现实世界里,你的恐惧不会变成小丑。但这不代表现实的阴暗带给你的恐惧不会把你吞噬。所以我可以理解那些选择自杀的人,不是面对死亡没有恐惧,而是当自己一步步被心里的负能量吞噬,死亡在痛苦面前也就举重若轻了。‘
现实中有太多人,在无法面对自己心里对于这个世界阴暗面的恐惧时选择走进那间房子,但却不是每个人都有那么幸运,有好友在身边坚定陪伴自己度过,不是每个人都能够离开那间房子,不是每个人都有机会最终直面自己的恐惧。
因此,我很感激这部电影最终给了一个好结局,主角们在这场与恐惧中的恶战成长,收获了更好的自己与更好的友谊。最后,主角们约定,27年后,如果小丑再回来,我们也会回来!小丑是心底的恐惧,漫漫人生,如果有一天,你再面对这个世界的残忍,我们必定回来陪伴你!
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其中两星给沈万顺,一星给沈家门,还有一星给其他演员
花红这个女主人设设置的不行,开酒厂其实算是花红的一种执念吧,但是完全没有突出,所以大家都会不大理解她对田家的不停原谅,在后期感觉她就是这里插一脚那里插一脚,啥事她都能解决;沈万顺在商场上确实有点卑鄙,但是在其他为人方面没问题,最后他给陈三炮送钱的那段戏是真好,演员给力,人物设定也好;
沈家门我是觉得嫁人当嫁沈家门,一
其中两星给沈万顺,一星给沈家门,还有一星给其他演员
花红这个女主人设设置的不行,开酒厂其实算是花红的一种执念吧,但是完全没有突出,所以大家都会不大理解她对田家的不停原谅,在后期感觉她就是这里插一脚那里插一脚,啥事她都能解决;沈万顺在商场上确实有点卑鄙,但是在其他为人方面没问题,最后他给陈三炮送钱的那段戏是真好,演员给力,人物设定也好;
沈家门我是觉得嫁人当嫁沈家门,一开始以为是个混混类型的,但是真的很男人,对于爱情,他疼爱明媚(明媚失去孩子以后的拥抱真的哭死),但是他又不止拘泥于爱情,而是心怀国家大义,就是最后结局我不喜欢,内心还是他能死在战场上的,害;
田明媚的话,前期不是一个讨喜的角色(就是和花红相反,花红是前期角色人设比较好),前期的事感觉都是田明媚作出来的,而转折点就是在她嫁给沈家门以后,其实她算是唯一一个成长型人物吧(以往都是会安排的男女主是成长型人物,挺有意思的),在她怀孕七个月的时候,你看到那个时候的她,眼神和表情是温柔的(在嫁人之前真的很傲娇,截不同时期的图一下子就能分辨是哪个时期的),其实她在那个阶段已经有所改变,我觉得最大的改变是在失去孩子以后(编剧为啥不给她和家门留个孩子啊,气死我了),她在之前拘泥的家仇其实已经上升了,但是王鸥感觉她那时候的演技比较差,有很多地方都没有表现出来,这个角色还是我个人比较喜欢的角色,包括结局的死法也是我喜欢的;
田树才我真的都不想说了,巨讨厌这个角色,虽然一直以杀父之仇为借口,其实我觉得他有可能想报的其实是“夺嫂”之仇,反正就是好自私啊,我觉得他是一个很偏执的人,唯一一个讨厌的角色
陈三炮的话我对他没啥感觉,因为个人觉得这种角色很多,没感觉到他的独特魅力
最后就是剧情是真不行,一星就是扣在这里的
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小时候看不懂只记得很好玩,搞笑,现在重新看,整个影片最有感触的是相亲,现在90后都是青年了,都要30岁的人了,而很多更是因为工作压力,很多还是单身狗,学历越来越高了,对象却越来越难找了,父母开始着急了,在外人的眼里你是个大龄单身青年了,再过两年就剩下了,而越来越多的人没有更多的时间去了解一个人,再去和另个人相处,那么相亲就是非常必要的了,相亲可以免去很多麻烦条件看得上出来见见,能聊的下去就继
小时候看不懂只记得很好玩,搞笑,现在重新看,整个影片最有感触的是相亲,现在90后都是青年了,都要30岁的人了,而很多更是因为工作压力,很多还是单身狗,学历越来越高了,对象却越来越难找了,父母开始着急了,在外人的眼里你是个大龄单身青年了,再过两年就剩下了,而越来越多的人没有更多的时间去了解一个人,再去和另个人相处,那么相亲就是非常必要的了,相亲可以免去很多麻烦条件看得上出来见见,能聊的下去就继续,只是这个相亲对象真的是命由天定,十分随机,而能找到称心如意的真的很难,可能最后自己把条件降低就凑合着过吧,迫于压力也就妥协了,最后祝所有单身男女都能找到合适的人。
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打开电视,正好在放这部黑白老片,就跟着看了,结果真的是惊喜,撇开老派演戏风格不谈,真正的精华是里边的三观,既包容又很正!几十年前的香港,大众对于男女在社会上的角色的偏见,各个人物对自己道德底线的分寸的演绎,现在来看也有很多地方可以同感,结局还是自尊自爱善良正直的人冲破偏见,得到好报。印象中港片很多都是这样的观念,不管你再怎么不按常理出牌,只要大家明白你是因为自尊自爱善良正直才这样,都会包容同
打开电视,正好在放这部黑白老片,就跟着看了,结果真的是惊喜,撇开老派演戏风格不谈,真正的精华是里边的三观,既包容又很正!几十年前的香港,大众对于男女在社会上的角色的偏见,各个人物对自己道德底线的分寸的演绎,现在来看也有很多地方可以同感,结局还是自尊自爱善良正直的人冲破偏见,得到好报。印象中港片很多都是这样的观念,不管你再怎么不按常理出牌,只要大家明白你是因为自尊自爱善良正直才这样,都会包容同埋支持。虽然香港近几年风风雨雨,可我一直都知道香港有这样一股正能量,越是嘈杂,这样的声音就越彰显得纯粹和发光。
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虽然人物少、但个个都是狠人
虽然人物少、但个个都是狠人
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只说三个要点:
(一)毛泽东是成长起来的,而不是本来就是那样。判断都不出错、凡是绝对自信,那就是神人,神人只会在神剧中出现。这部戏有意思的地方,就在于展现了一代伟人如何从书生带兵的偶然灵感的小信心,逐渐成长为拥有超强自信心的一代伟人。伟人并非天生的。熬夜思考下一步走法的毛泽东,不断反省复盘的毛泽东,才是那个真实的、在实践中成长的毛泽东。
(二)历史充满了偶然,这些偶然
只说三个要点:
(一)毛泽东是成长起来的,而不是本来就是那样。判断都不出错、凡是绝对自信,那就是神人,神人只会在神剧中出现。这部戏有意思的地方,就在于展现了一代伟人如何从书生带兵的偶然灵感的小信心,逐渐成长为拥有超强自信心的一代伟人。伟人并非天生的。熬夜思考下一步走法的毛泽东,不断反省复盘的毛泽东,才是那个真实的、在实践中成长的毛泽东。
(二)历史充满了偶然,这些偶然的成功,很大程度上依赖于核心团队的强大。其中,至少还包括周恩来异常优越的政治手腕、刘伯承超强的战略战术能力、朱总司令的明智和英勇,当然还无法忽视以董振堂、陈赓所展现的过人指挥力。只有在生死悬置的极端境地,一个团队才能自然演化出如此强大的超级核心领导团队。困境甚至绝境才能锻炼出王者之师,才能逼出对每个问题、每个决策高度集中的心流。(对比起老蒋的一箭三雕,或许可以说就胜在专注二字)。只有这种历史进程,才能解释为何刘伯承建国后不任参谋长转办军校,且不参加十大元帅的授勋仪式。可以说,长征的胜利,真的是团队的胜利——其中最为耀眼的,就是毛泽东对于一个问题的专注思维能力(唯一问题是:真的很费烟)。
(三)唯有终生学习、才能不败,真是不虚。我认为,毛周朱刘基本是长征初期的四大功臣,他们都有决定性。更为可怕的是,他们之间还互相学习,共同进步。毛泽东的孙子兵法,都是刘伯承找来给他的。而刘伯承日趋化境的灵活操作(实际上,李德博古时期,刘伯承前段时间也是位居参谋长,负责具体落地方针。)也有赖对毛泽东的学习。总而言之,怕就怕比你强的人,还这么拼命的刻意练习。
顺便说一句,长征前期,每天好几十公里的长途跋涉,是很充分的有氧运动,这对红军的有氧能力帮助太大——在敌人那边,只有昆明的滇军由于长期高原训练,还有得一跑。所以,也许只有龙云的孙殿部才能力一战。可是,龙云实在是太精明了,老奸巨猾的蒋介石夺了末代贵州王的权,最后反倒斩草不除根、抓不住主要矛盾,放走了真正的敌人——只能说是:人呀,算来算去=算自己。
如果貌似有些启发,去看剧吧,这是部好剧!
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之前看鹤唳华亭感觉反转有些生硬,于是想二刷看看还有哪些bug,但今天二刷前两集之后感觉自己终于理顺了卷轴案这个故事,理顺之后我要对编剧跪下唱征服。前两年特别流行什么烧脑电影比如盗梦空间之类的,但我觉得这些电影其实都很友好,今天我终于发现了一部真正的烧脑影视剧(这句话不全是夸他的意思)。下面讲一讲我理解的故事,如果觉得有不对的地方欢迎指出。
卷轴案从玉带开始就一环套一环了,总共有三
之前看鹤唳华亭感觉反转有些生硬,于是想二刷看看还有哪些bug,但今天二刷前两集之后感觉自己终于理顺了卷轴案这个故事,理顺之后我要对编剧跪下唱征服。前两年特别流行什么烧脑电影比如盗梦空间之类的,但我觉得这些电影其实都很友好,今天我终于发现了一部真正的烧脑影视剧(这句话不全是夸他的意思)。下面讲一讲我理解的故事,如果觉得有不对的地方欢迎指出。
卷轴案从玉带开始就一环套一环了,总共有三幅卷轴,一副齐王准备的空白卷,一幅太子准备的空白卷,一幅太子准备的贺礼卷。
齐王一开始就知道张尚宫是吴内人的亲生母亲,这也是齐王为什么会选择吴内人。一开始送错玉带就是为了让张尚宫过来换玉带,让张尚宫听到他们的密谋,后面齐王去请太子的时候把金带的镶嵌给张尚宫就是告诉她她脱不了身,逼她把密谋告诉太子。等张尚宫上宫墙后吴内人就把她推下去然后把事先准备好的认罪丝帕扔下去,然后再让事先安排好的人掩护吴内人离开。
太子知道轴卷的事情后就安排人用贺礼卷替换了齐王的空白卷,所以在冠礼上会说齐王的贺礼,是意图震慑齐王,齐王当时假装惊慌也是为了请太子入瓮。太子知道这是齐王的连环计后立刻安排人抓人,这时吴内人已经带着贺礼卷躲在了库房内准备烧掉轴卷。吴内人并不知道轴卷已经被替换了,而且吴内人不认得几个字所以急着烧掉轴卷,但时间来不及了所以一时情急把贺礼卷藏在了房梁上。
太子和齐王在皇帝面前对峙的时候太子就开始给他下套了,他知道宫人身上的轴卷是贺礼卷,他现在关键的一个是抓到人证吴内人,一个是找到物证轴卷,他一开始不说实话是为了留一个后手,给顾逢恩时间搜查被张尚宫藏起来的轴卷。太子留个后手是对的,皇帝偏心眼偏到大西洋了,一点都不带掩饰的站齐王那一边。这时张尚宫醒来了,可是是张尚宫为了她的女儿背叛了太子,好在她自杀前暗示了太子轴卷在哪,太子也听懂了。
姜尚宫奉命来找轴卷和杀吴内人,而吴内人也感到了不对劲。吴内人假称自己知道轴卷在哪寻机逃脱,却被太子安排的人找到。此时姜尚宫也找到了吴内人,太子的人于是假装是齐王派来灭口的把吴内人勒晕了。
太子找到了齐王的卷轴发现这是一个空白卷轴,知道了齐王的连环计,好在他安排的人已经找到吴内人了,想到之前自己告诉齐王自己写过一个模仿他字迹的卷轴太子立刻想到了反将的手段。他在故意等皇帝和齐王找过来,假装中了空白轴卷的圈套,放松齐王的警惕,准备明天在朝堂上用人证物证打他一个措手不及。
皇帝打了齐王一个巴掌,因为他心里明白这一切都是齐王搞的鬼,此时他对太子产生了一点愧疚和怜惜,于是让李重夔告诉太子只要他明天乖乖认罪会放他一马的。但皇帝不知道是傲娇还是不想承担责任,他让李重夔说这是他自己的猜测。但当太子问这是皇帝的意思时,李重夔可能出于同情选择了默认。
第二天上朝的路上他看到那些被绑起来的尚衣局的宫人,不论这些人和案子有没有关系都死定了,他不禁怜悯心起,也想起他对张尚宫承诺过保她全局平安,可想要救他们只能求皇帝开恩,想要皇帝开恩那必须让皇帝满意,那他只能认罪,想到皇帝对他的承诺,他决定认罪,他不甘的哭了。
朝堂上太子认罪了,可中书令不依不饶,皇帝在中书令的攻势下也不准备护着太子了,太子不敢置信的看了皇帝和李重夔一眼,中书令这时还想把火烧到太子老师的身上,太子决定不忍了开始了他的绝地反杀。
吴内人和卷轴被带上朝堂,太子步步紧逼,攻破了齐王的心理防线,齐王说出自己的轴卷是没有字的。齐王不知道卷轴是空白的、吴内人受伤已经说不出话来了。群臣要求处置齐王,皇帝显然不愿意,太子见状放了齐王一马以求皇帝开恩尚衣局的宫人。
夜晚李重夔拿来在库房找到的卷轴,皇帝知道了太子没有说谎。
这么长的故事只讲了两集半,我觉得编剧不应该安排这么多反转,我这样顺着讲就已经很复杂了,她再安排这么多反转很多人可能都跟不上她的节奏,不是人人都是北大法律系的高材生,能瞬间理顺这个故事。
剧里很多事情都是用一个眼神就交代过去了,比如冠礼上齐王的那一段闪回,他和吴内人在库房内看到有人影闪过然后一个“计划顺利进行”的眼神交汇,就交代了他们的话是故意说给张尚宫听的。
很多事用一个细节就交代过去了,比如吴内人的耳坠。那对耳坠贯穿了她的故事,这对耳坠应该是齐王送给她的,而她一个小宫女却敢带这么奢华的饰品可见平时虚荣骄狂,所以在齐王的诱惑之下才能做出杀害养育自己二十年的师傅的事。姜尚宫来看她的时候特意看了一眼耳坠,当时就已经动了杀机,准备杀了她后用耳坠复命。而齐王拿到耳坠后的随手一扔就表明了吴内人在齐王心中的地位。最后她亲手把剩下的耳坠扯下表明了她的悔意!
如果编剧一直以这个节奏讲故事那我觉得她应该要80集才能把故事讲好,60集短了。
PS:二刷时突然明白了张尚宫为什么会跑上宫墙,她是准备上去顶替吴内人的,她既不能背叛太子提前拦下吴内人不让她上宫墙抛轴卷,因为太子交代她替换轴卷就是要扔,也不能看自己的女儿卷入危险的漩涡。哈哈~齐王这个东西真是坏的很啊!这都算到了。突然感到了做逻辑推理题的乐趣!
看到有人疑惑为什么城墙上没有守卫,因为这不是城墙是宫墙,有镜头交代冠礼之前有卫士仔细巡逻过,然后给宫门落锁了,但齐王的人把钥匙留在了墙缝里,吴内人就是拿了这把钥匙上宫墙的。
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