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.
故事挺老套的，但是耐不住甜甜圈真的好可爱啊，哈哈
带孩子去看的，她觉得很好看，我觉得故事有点俗套但也是可以一看的。有奇幻有搞笑，这个动物设定让小朋友迷惑，它们的内脏在哪？最后居然不同物种可以通婚？有点不能接受。
全世界都说中国话
“它喜欢的张博士从头到尾都没有喜欢过它。”
就算槍戰，打斗，運鏡如何精彩，掩蓋不了剧情硬傷这事實，可惜～！。一个盲人可以自理已是奇跡，还可以深入虎穴和坏蛋槍战惡斗，太不合理吧？！槍林彈雨就算正常人都挂了不止几十次啦，可況是看不見的，唉～～
好可爱好好看👀整个故事结构很完整，最后也很温馨，适合带小朋友们去看。两只可爱的“菲拉萌”穿越时空拯救即将灭绝的同伴的故事。
你们都温馨甜蜜的爱国，我却是雷打不动的动画片
就挺普通的，剧情挺新颖的，但是结尾还是玛丽苏
还搞这么大的场面
安志杰远古时期就开始和一众大腕搭戏，上古时期甚至就在和刘青云合作的神探当中担当主演，片子也拍了不少，形象也算不错，别提演技，跟那个没关系，就是不火，现在成了流水线网剧演员，也是……
带孩子考的，真的非常搞笑，讲述了一个探险的小故事！古诗最后还有反转！孩子很喜欢
我真的救命，中美合拍，中不中，美不美，真的是膈应人，还有那只小狗，黑化得也太突然了吧
被迫体验的一部电影。虽是大陆影片，但国外主创团队还是把影片拍成了好莱坞风格。立意不错，通过两个甜甜圈穿梭不同时空拯救全族的故事，体现了亲情、友情和……爱情。脑洞开得不算大，笑点还是有；影片又像百科全书，在穿越过程中汇集了长城、兵马俑、达尔文、牛顿、莫扎特、郑和下西洋、古埃及壁画等众多元素，寓教于乐还不错。其中的歌舞片段，三角龙来了一段挺棒的rap。只是，这类影片的观众更多的是5岁左右的小朋友，还是应该以正能量为主。剧中反派角色博美犬小白，从热心萌宠瞬间变脸成为腹黑冷血狗，反差大；语言上，网络用词多，“你们别丧”换成“你们别沮丧”好一点；最无语的，两个不同种类动物之间的速配爱情，不必吧？
女反值一星 安志杰一星 其他算了吧 东南亚国家出现polizei 也是牛逼
这部儿童电影一定有一定的内涵，但是我的言语描述不出来
剧情设定还是一如既往的善良战胜邪恶，菲拉萌的甜甜圈形象贡献了不少笑点，是小朋友会喜欢的电影。
节奏和人物是亮点，可惜剧本跟演员不太行。
●打戏看得我太爽。
作为网大来说算是不错了，安志杰还是很能打的。
看在网大还比较努力的份上加一星，导演跟动作指导一定是John wick的铁粉，虽然女主表达的比较糟糕但至少还模仿了一个壳，算是比较好的突破，这片投资再多五千万，找专业的动作指导和特效公司，一定能够在院线捞一笔，配角演技都很烂和浮夸，唉可惜了
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