相比還是更喜歡燃燒一點(diǎn)從類型片的視聽(tīng)角度講沒(méi)人能拍得過(guò)美國(guó)人這部也不例外視聽(tīng)(包括剪輯)和昆汀芬奇等人的作品在感染力上還有差距故事層面確實(shí)展現(xiàn)了高超的反轉(zhuǎn)技巧(但我認(rèn)為不如Gone Girl的反轉(zhuǎn)來(lái)的高明和震撼)但欠缺的是在諸多符號(hào)堆砌之下對(duì)於真實(shí)細(xì)節(jié)和情感波動(dòng)的細(xì)緻填充所以我無(wú)法進(jìn)入人物他們?cè)谖已垩e是編劇的工具執(zhí)行著一個(gè)接一個(gè)的動(dòng)作並且結(jié)尾的編排搖擺在“試圖給出解釋和“又不想過(guò)多解釋之間語(yǔ)焉不詳也沒(méi)能引發(fā)我更深刻的思考所以身為“social problem movie它在思想深度上在我這裡也是不及燃燒的類型片受金棕櫚肯定固然是好事但我只能講這遠(yuǎn)不是我看過(guò)的最好的類型片之一同樣是manipulation驅(qū)動(dòng)形成的奇情故事Gone Girl好很多
Body horror is the metaphor for visual pleasure. A critical reflection on where our species are heading if giving no limit to our exploitation of pleasure. However the film itself didn’t escape the fate of being part of the process, and me as the audience who already sat down, had no option of rejecting my role as the consumer of such content.