里头就三个男人，一个软弱无能娘娘腔；一个专吃软饭；还一个具备前两个“特质”外带憨厚无知。整部电影反复彻底糟蹋男人的尊严，我想问马演你是不是有自虐倾向呀！？  (展开)

开头气氛还可以，虽然限于成本，场景寒酸了点，但是氛围烘托出来了，到监狱里见到女儿后，画风急转直下，逗比上帝频频在梦里骚扰神父，恶魔八班也惦记着神父长达18年…这是一个三角恋的狗血故事。逗比教会完全被恶魔渗透，就连最牛逼的驱魔人也是个忽悠…这哥俩一惊一乍的被痴...  (展开)

思考了挺久为何我看了这部电影后如此难受，明明这只是一个烂得毫无新意的纯爱片 一是剧情主线充斥着恐老色彩，很膈应人 二是男编剧男作者们不虐女会死吗？通篇躲不开的男凝令人不喜（当然也可能是环境问题，毕竟日本男权社会） 三是人物扁平化严重，情感单薄。编剧水平很次 四...  (展开)

谨以至诚，昭告山川神灵，我今驾机迎敌，保卫祖宗艰苦经营遗留吾人之土地，名正顺言，鬼伏神泣，决心至坚，誓死不渝！汉贼不两立，古有明训，华夷须严辩，春秋存义！生为军人，死为军魂！

个人一直认为，即使是在星光熠熠、众星云集的好莱坞，阿汤哥也是一个无可替代的存在，坚韧、精悍、温和、纯真、勇气、智慧和自我控制等众多优秀特质的结合体，天选之人的精气神，你找不到另一个与之特质相似的好莱坞巨星。 初见此片，很难相信已经年近60的阿汤哥还能拥有如此的...  (展开)

作为《完美音调》系列的老粉，我真的是怀着一些期待看完第三部的，只可惜，期待到最后一刻，也没有什么惊喜，只有影片最后留下了一点温馨。 大概是前两部的音乐编排上给人留下了比较深刻的印象——至少我是被这样的音乐吸引着看完前两部的——第三部看着有点“平”，感觉上没有...  (展开)

这篇影评可能有剧透 关于影片故事分享一下我的看法，由于没看过原著就单从影片故事分析，提示以下内容涉及剧透。 主要讨论两个问题： 1.'勾引'一事真的存在吗？ 2.女主一家的不幸遭遇和男主有无关系？ 这两个问题都没有证据指向的清晰的答案，这个故事值得揣摩的有趣的地方就在于此。第一个‘勾引...  (展开)

Song of the Exile reveals its veil with an extreme close-up of a bicycle wheel, accompanied by Hueyin’s sentimental narrations. Hueyin, the narrator and one of the protagonists, isa Sino-Japanese (ethnically) studying in London. Aiko, Hueyin’s mother, is a Japanese who has been living in Macau and Hong Kong since the end of the Second World War.Hueyin’s grandparents, in reliance of their illusionary imagination on Mainland China, choose to settle down in Guangzhou in the shadow of Cultural Revolution. Seemingly all the main characters in Song of the Exile are in displacement from motherlands and resettlement in host lands (Yue). This essay will analyze the displacement and its reconstruction of identity in the context of Song of the Exile.

As to Hueyin, a subtle implication on her contradicted ethnicity and nationality arises when she is typing another resume after she receives the rejection letter from BBC. The heading of her resume indicates that she was born in Hong Kong (“Place of Birth: Hong Kong”) but she is a British (“Nationality: British”). The scene not only epitomizes the colonial history of Hong Kong, but also portrays the discrimination Hueyin encounters as an ethnical Chinese. She should have been treated equally as her local friends on application to BBC in terms of nationality. Yet more often she is isolated in the pub and unintentionally alienated when her friend mentioned about using chopsticks, which symbolizes a classical imagination of orientalism. All these subtle fragments pile up, Hueyin gradually realizes that although she lives in London and speaks fluent English, she still belongs elsewhere. She is indeed “an exile in a foreign land” (Erens).

That’s probably why Hueyin erases her resume and instead types a farewell letter to her friends in London. The opening scenes depicting the landscapes and culture heritages of London, especially appealing to most people in Hong Kong at 1990s after the demonstrations on Tiananmen Square. The image of London is somehow embellished in the diffusing suspicion of returning to socialistic China. In terms of Hong Kong, the model of One Country Two Systems “includes Hong Kong as a part of China but excludes it from legal structure” (Yue) and economic coordination. All those British culture and heritages left in Hong Kong cannot be simply replaced like the replacement in nationality derived from the handover, not to mention the reconstruction of recognition of Chinese identity. It seems that Hong Kong itself, like Hueyin, also lives here but belongs elsewhere.

The same displacement occurred to Aiko,Hueyin’smother, who has been living in Macau and Hong Kong for most of her life. She tells her older brother how difficult her life is in a “foreign country” upon reaching her hometown in Japan. As a Japanese living in Macau and Hong Kong after the Sino-Japanese War, Aiko was prejudiced and even despised by Hueyin’s grandparents and neighbors. She speaks Japanese. She is more in favor of Japanese cuisine. She always reminds herself and Hueyin of the reputation and wealth of her family in Japan, which constitutes an explicit contrast to her floundering life in Hong Kong and Macau, trying to adapt to local lifestyle. When returning to Japan, she picks up her mother tongue, her Japanese name and all other Japanese ritual habits, thus reaffirming her identity as Japanese. She seems to be no longer the “otherness” but one of “the same” with similar social practices and collective acknowledgement of identity.

However, the authenticity of favorite food, the familiarity of language and the comfort of coming back home do not last for long. When Aiko deliberately shows off her well-educated daughter studying in London to her relatives in an attempt to create a “glorious return”, her relatives respond in indifference and ethno-centrality. The Japanese food she used to favor feels cold and tasteless. She even complains about the traditional hot baths for their impracticality and inconvenience. Those yeas living in Macau and Hong Kong unselfconsciously alter he cultural identity. “The years of acculturation in Hong Kong have changed her attitude towards the homeland” (Yue). For Aiko, the journey to Japan is supposed to be a resume of her original identity, but it turned out to be a reminder of her new cultural intimacy towards Hong Kong created by her life of displacement.

At the end of Song of the Exile, Hueyin’s grandfather, who is severely beaten by the Red Guards in Cultural Revolution claiming to topplebourgeoisie, mentions about sending the book of Song Poetry to Hueyin in case she forgets the profound traditional Chinese culture. His reference to this particular period of divine Song Dynasty infers “the national sentiments of modernity, exile and reunification” (Yue) in the horrific shadow of Cultural Revolution. The poverty, brutality, and disorder in Guangzhou smash Hueyin’s grandparents’ fantastic illusion on homeland when they are in Macau. The distance from home procures an ideal to restore the original identity. Yet Hueyin’s grandparents have already become the “otherness” when they return. Only marginalization and hostility towards the Kuomintang’s nationalism embrace them.

In Song of the Exile, the elements and implications of displacement and resettlement constantly affirm and reshape the characters’ recognition of their own ethnic and cultural identities. As for Hong Kong, 15 years has passed by since the handover, seemingly it still belongs elsewhere. In a time of globalization, borders and boundaries may be easily blurred out and they are no longer obstacles for commerce and communications. However, frequent communication does not directly lead to mutual understanding between Mainland and Hong Kong. Conflicts may also arise. The recognition and reconstruction of Chines identity are far more difficult than the reconciliation between mother and daughter in Song of the Exile. As for Hong Kong cinema,local contents (food, language, cultural heritage) in Song of the exile seem to be “a nationalistic response to globalization” (Teo). Nonetheless, maintaining and distilling local features in the pressure of globalization“would not have been and still is not easy” (Yue) in 21st century.

学生习作。拍这个片前波兰斯基就和自己学校领导拍胸脯肯定得奖（自信帝），于是学校也就拨钱给他去拍了。后来真的在布鲁塞尔实验短片奖里获铜奖。

本来是要拍两个男人和一个钢琴，后来改为衣柜。衣柜的镜子成为了这个片里很重要的道具。短片是荒诞的（两个男人搬着衣柜到处跑不知道在干吗），是现实主义的（偷窃 凶杀 抢劫 世态炎凉很巧妙的窜连起来），是超现实主义的（那个鱼在白云里漂浮的镜头太妙了），是寓言式的（衣柜可能就是摄像机，两个人搬着它拍下现实一切，中间还控诉了下电影审查，镜子（镜头）被打碎了），又是忧伤的（结局）。



波兰斯基自己也出演，在里面过了小流氓的瘾，来了段叶问式的天马流星拳。

最难能可贵的是虽然拍摄时间超出预期，但是没有问学校多拿一分钱，还自己贴了饭钱，好习惯从小养成，碰到这种导演，制片人要笑死了。

这篇影评可能有剧透 [视频] 在全民热烈讨论《复仇者联盟4》的时候， 万玛才旦的新片孤独地来了。 “复联”目前占据中国电影院几乎所有的银幕， 票房占比约为99%，在它宣布档期之后， 同期的电影纷纷撤退， 但由王家卫监制，万玛才旦导演的电影——《撞死了一只羊》 却如期上映，和这部超级英雄片相...  (展开)

It was a movie talking about femalism as well as junvenile troubles. With all the wondering and struggling during the teenagehood, the personality was shaped. When the parenting or education emphasize more concentration on individuals rather than standardiz...  (展开)

湖南卫视的收视率榜单中，《仙剑5》以0.6的收视率垫底，而《翻译官》以1.71的收视率让仙剑无地自容。这是两个不同题材的电视剧，本不应该拿来相比。那就比比相同题材的《仙剑3》吧。即使在13年，仙剑3的湖南卫视收视率也达到1.16，而且还是重播的收视率。
我不禁去看了一下《仙剑5》，觉得仙剑5的收视率低是很正常的。
相比《仙剑3》，仙剑五的云帆这个人设，除了有爹的血脉，就没什么吸引人的特质，呆板，僵硬搞笑，没特长，见到美女就像个屌丝一样流哈喇子，我擦，还是主角，你凭什么做主角？这个云帆和那些笨傻纨绔的富二代没什么区别嘛，很难有情绪上的认同感。相比《仙剑3》那个幽默搞笑讲义气还是个练武奇才而且身份神秘的景天来说，差了不止一个无心法师的距离。

还有，哪吒，哦不，娜扎扮演的雨柔，就知道会用眼珠勾勾地看人，还整天顶着一副黑眼圈，跟个大熊猫似的，而且面瘫没有大熊猫可爱！难道真是因为煞气重给熏的？真心喜欢不起来来。

接着说说剧情吧。每一部好的电视剧，都有一个吸引人的终极级任务和看似无可战胜的困难。《越狱》的任务是从监狱里救出他哥。一个朝中无人的工科男，要在保卫森严的监狱里救出自己的大哥，该有多难！《仙剑3》的终极人物是拯救苍生，一个仅仅聪明幽默的邻居大哥，要以拯救苍生为己任，是不是很困难？！而《仙剑5》的主人公的终极目标，是去拿把剑就帮忙恢复幽冥国，而且还是被迫的。目标很牵强嘛，就好比你出生之后，自己能干什么都不知道，就被叫去考试一样令人讨厌。而且，云帆是妖王之后，半人半妖，并且有高人相助，要办成这个目标，不是很轻松的事情吗？用脚趾头想，都能想出来的实现情节，干嘛还要苦苦去看。主角又不是宋老公或送女神。

我深表怀疑，《仙剑5》制作成本都放去做5毛特效了，背景音乐真是烂得一塔糊涂。试看《仙剑1、3》，或者火爆整个暑期档的电影或者电视剧，剧中的主题曲、插曲，都是打榜冠军，接着要热个一两年。比如《花千骨》，《天之痕》、《后会无期》。上映前，有主题曲加温，结束后，有插曲温存情绪。上个床都知道要有前戏和最后的温存呢，难道这帮制作人都是身患直男癌的宅男？！不说走心了，连个套路都不愿意走！哦，no，没眼看！而《仙剑五》的主题曲，听着就是榜底的料，而且至今在各大榜单上面，都没有动态，可见烂到无以伦比。

最后，有个问题很困惑，为什么湖南卫视的电视剧，不在芒果TV里播放，而要放在土豆网上门播放？难道仙剑5刚开播，就成了湖南卫视的弃子了吗？还是觉得这剧真土到爆，于是，放去土豆网了？

原来看《仙剑奇侠传三》的时候，觉得最有深意的一段就是紫萱和徐长卿的三世情缘。这个情形有些复杂，自始至终只有紫萱知道这段感情的来龙去脉，而徐长卿和他的前世，一直都蒙在鼓里，直到最后才知道自己不过是一个替代品，没有享受到任何的权利，反而要为自己的前世承担各种责任，履行各样的义务。

这样的故事未免过于夸张了。不过每个人的生命大概也可以明显地划分成风格鲜明的几个阶段，我们暂且把这些阶段当做一个又一个前世好了。太平会因为薛绍而找到张易之，宇文化及在傅君婥后会找傅君瑜，小艾在最后会选择一个相貌和齐大胜类似的小生，大致都是因为爱情投入地太深沉，以至于自己都很难辨别出肉体和灵魂的区别。

于果在因为家庭原因而选择放弃夏小白后，依然可以若无其事地找一个完全不同夏小白level的富二代女朋友，完全说明于果本身就是一个爱情骗子，情感流氓。此外，为了衬托出后面于果性格转型而营造出来的初期不靠谱故事，更是让人觉得反感：这个人怎么可以做高大全的男猪脚！

我觉得对正常人来说，第一次的尝试实在是太有意义了。一个口味一旦定下来，之后要改就很难了。我们很多时候，都是在不断地寻找第一次的相似替代品，尤其是看起来完全一样的哪一种。

说实话，我是幂幂粉一枚。先表白大幂幂！我看之前有评论说幂幂演技烂，台词烂，各种烂，说真的我也承认她之前在很多戏里老有一种出戏的感觉！在影视方面，她也许真的有很多不足，可她一直在努力！你不承认，是因为你和蜜蜂的关注点不同……其他方面，硬要说她怎么怎么样的，我...  (展开)