A下载的那个字(💄)幕是翻(😅)译器翻(🦐)译的,时(🏭)间轴对(📒)不上,纠(📵)结死,如(🏁)果电影(🥔)名字只叫丽姬娅还好,偏偏要和爱伦坡扯上(🐲),而故事(🛫)和原著(💏)关系又(🏘)不大,用(🌫)《丽姬娅(👨)》的另一(🏹)个译名(🤲)《借尸回(🌈)魂》才能切合这部片子的主题。
A我(🚔)对纸碎金(📑)迷的生(🈷)活看不懂(⚾)。发觉费(🅾)里尼的片(🕠)子是越(〽)往后看越(🍕)有意思(🎑)的,每个场(🚩)景都有可圈可点(⏭)之处,但你必须有(🙋)耐性熬过前面枯(🙋)燥的起承。此片两(😣)个印象深刻的场(🐃)景 1.金发美女在宴(➕)会上的疯狂舞蹈(🚀) 2.斯泰纳家的文艺(📻)聚会。P.S 看完后发觉(🔤)这片儿尼(🎂)玛3个多(🌁)小时!时间(♍)太长了(😲)忍不住减(🤴)一星。
AWhat a waste of resources and potential... I have lots of respect for Michael Arias for his work in Tekkonkinkreet, and Nakamura has been partaking in the making of great films as early as the 80's... The problem is not the direction, it's the scenario. World-building is quite fine: a utopian & futuristic environment living under the ideology of "lifeism" where people are connected through a centralized system that values safety, self-preservation and empathy above everything else. So far so good... but after the exposition segment, the events start taking a curve that bends away from any reasonable or believable development. The writing is ridiculously bad, the ending both lazy & lousy.