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.
圣母班上有个孩子有点呆，原来他爹恶魔化了。恶魔化还是传染病，弟弟也传染了。所以，想要成为“圣母”这派的人，就要弑父、杀兄弟……反正这套路跟尚气其实差不多。恶魔怕光，就很扯淡，手电筒、照明棒带眩晕的。
看到shownu突然就不恐怖了 时隔多年我果然还是迷恋这一型
除了最后一个密室逃脱有点意思，可惜感觉还没到高潮呢就没了？？虎头蛇尾。。
十个小故事都不行，人体模型那个的很有视觉冲击力，但也仅仅是造型层面上的。
如果“恐怖片”都不能算作恐怖片，那么什么能算作恐怖片呢？废话，当然是能吓人的片。
光怪陆离，奇思妙想，有悬疑，有恐怖，不同的故事，不同的感觉。
就害挺失望的？老师是不是有点圣母心啊？比起鬼怪好像隐射的儿童问题更严重吧？
鬼故事的主题都挺好的，但是为什么演的完全不可怕呢。。。
嗯......就是一堆小鬼故事，中间都无聊到扣手了，好多故事都没什么道理。
还好，前期看下来节奏比较慢大部分场景比较黑，结尾还有伏笔
忘记打卡了！可以说各方面都让人很意犹未尽......但是恐怖片不就是要尽兴才好嘛！
想着有原作基础的博弈电影再怎么难看也差不到哪去，最多制作廉价，节奏有问题嘛，结果…
最后一个故事是不是想说，如果男主不放弃两个同伴，就凑不成五芒星阵了？
没看过漫画，感觉有动画版呈现起来应该还行，真人版也是冲着流星才看。前面是中二开篇，后面抽鬼牌有点无聊…三浦翔平都快认不出来了，本乡的妆发简直二次元过头了！
风格忧郁冷寂，内核单薄，怪物造型勉强可以，女主单杀整个就离谱。
怎么说呢 就跟小时候路边摊那种三流恐怖杂志一样 没头没尾没有逻辑
尬，横滨流星就是角度帅哥，角度不对的话，他那崎岖的脸真不行
主要场景只有一个屋的《斗牌传说》比这片刺激五百倍。作为一部欺诈类型片，你情节反智就不说什么了，特么的全程流水账无高潮是闹哪样？中田秀夫你拍的不是日恐啊！搞这种慢慢吞吞的叙事和运镜是哄睡呢？可惜流星的颜值和身手，被按着捶了一路，最后只能欺负欺负三浦这种残疾人……下部要不干脆辞演吧？
【隧道】抵挡汽车没除雾模式老有黑手印子和鬼互锤
情节中二，妆发中二，台词中二，一切中二，挺正常的男主，弄得很不正常
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