Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
这是新冠病毒侠吧，把新冠人形化了😂
作为一部惊悚片，不够惊悚；作为一部超级英雄片，格局太小。索尼不如换个思路，让男主的变身效果更漂亮一些，让他跟毒液搞基，可能还更有意思一些
漫威第二个十年过半，剧本水平已经差到堪比网飞大电影了吗？一塌糊涂！硬cue彩蛋！
水平在线，中规中矩。故事确实比较俗了，剧情没什么新意，但是漫威拍出来的暗黑超级英雄的质感还是在线的，作为一部爆米花片来看还是行的。漫威宇宙又在扩展，风格越来越丰富，期待更多新片上映。
少爷真是好有意思一人儿!~…
反派堪比战狼2里的反派，一点逻辑都没有，莱托少爷原来怕蝙蝠，在这里成了蝙蝠的化身，这是要做蝙蝠侠二代的节奏啊！
全片最佳是彩蛋…时隔5年又见到秃鹫了。正片里最震撼的场景，诺兰在17年前的《侠影之谜》已经展示过了。
2.0。1.兄弟对立能理解，但是反派转变太快毫无征兆。2.特效、服化道、场面都乏善可陈。
算是比较中规中矩的起源电影，你要说他烂，可能就烂在开场5分钟就能看穿结尾的一贯式剧情——亏我拿你当兄弟，你有了糖居然不给我吃，绝交吧，烂人——emmmm，就酱，但是，有《永恒族》永镇烂片基座，这不还算不太......就是希望少爷能多爱惜自己的羽毛。
“像我这样的濒死状态，还是很有吸引力的。”索尼这是把自家的漫威元素一次过吃干抹净啊，强行和蜘蛛侠联动也让人觉得反感。兄弟相残的英雄片大俗套，油画质感的特效设计有些新意，可考虑到评级因素吸血鬼吸的都是空气。
第3604-能拍得这么过时和味同嚼蜡，可能是因为天真。
『窜稀版毒液』名副其实哈哈哈，不过那瞬移特效还是蛮好看的，颜色鲜明，感觉又是一部更适合做成炫酷动作游戏的电影呢... 顺便其中主角有句台词还真“致敬/嫁祸”了毒液。不过这当代『超能吸血鬼/真蝙蝠侠』的帕瓦变相隐喻两个男性如何鲜明控制自己的“原始力量”... 很显然两个极端，结合时事“邪”的那个男人能窥探社会上正在作恶的群体....片尾联动的彩蛋，我愿为其组队取名【鸟类联盟】
说实话，自从复联4结束之后，漫威的电影开始走下坡路了，虽然蜘蛛侠英雄无归里面三代蜘蛛侠同框扳回来一点人气，但后面的作品基本吐槽声大于赞美声。这部也是让我感觉剧情很尬。果然朋友是身边最危险的敌人。和蜘蛛侠联动也是稍微起了一点波澜，但没多大的风浪可见。
【0.5】不是很能理解索尼又拍一部《毒液》的意义是？况且这部还要更加苍白无趣、七零八落。
降低预期之后，它就是一部中规中矩不出错，剧情朴实无华看得懂的电影。但放在漫威里就显得格格不入，远不及可侃侃而谈之作。
这是什么智障AI剧情哈哈哈哈哈。杰瑞德·莱托先生，您可以直播分享一下保养秘笈吗？我相信口碑一定比电影好一万倍
到少爷一抬头可以直接加入现代版JCS的下眼线造型就可以结束了，剩下的我带入日语吹替版都没法吃完啊。最后彩蛋让我想球球sony和漫威放过彼此，你们真的不用这样先婚再强制爱的。
醇所致急性胃损伤
暗夜鸟人（Vampire Birdman）啊哈哈哈哈哈 索尼一定知道我们现在很缺乐子才整烂活 是真的捂脸狂笑90分钟
就那么点内容凑够了一部电影，真是醉了，我看得好困啊。
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