C / 馬力克的鏡頭似乎總是流動(dòng)柔軟不斷向水平兩側(cè)畫(huà)外滲透的因此哪怕在描繪人物最痛楚最受壓迫的時(shí)刻他也以影像的神性給予其延展的喘息但這種空間的營(yíng)造始終難逃同質(zhì)化抒情的風(fēng)險(xiǎn)本片里最攝人心魄的反而是那些構(gòu)造了垂直視點(diǎn)的時(shí)刻:讓監(jiān)牢真正逼仄逃無(wú)可逃讓天空不再寬廣而只剩下信仰的叩問(wèn)在試圖讓一切無(wú)縫連接的世界中偶爾的斷裂反而更被需要——好比Franz就是那個(gè)時(shí)代的斷裂位點(diǎn)一樣
Spielberg and his endless budget only make the film visually appealing, but the old chemistry is missing. One of the drawbacks is the altered storyline does not make sense; the second half entirely lacks focus. Not even mentioning the overloaded autotune. It’s good that they cast real Hispanic actors. Rita Monroe is still killing it!! (She is absolutely terrific, but her role in the remake is a stretch. )