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.
太长太长太长了啊啊啊 幸好没有在电影院看 不然我真的坐不住 好平好无聊
已经很久没有看到过风格如此独特的武侠片了，这个打斗真的很好看，感觉一招一式都是蛮真实的。就是剧情有点快，感觉太短了，要是时间长点影院上映就好了。有人的地方就有江湖，酒馆老板说我不跑不过换个地方死罢了，在这我死了还有一丝体面。同一个位置同样的一刀，就是偏了那么一点点，所以只有老金一人活着的成就达成。
不太懂投这么多钱拍这种片子的意义，还不如完全架空的海盗冒险片，偏偏还要结合历史故事。就算是姜河那和韩孝周也救不动。
韩孝珠真美！电影是真的乱搞，不过也能看吧，反正消磨时间的话还是可以看的！
这是一个真实的江湖,没有一丝写意和浪漫，有的只是漫天黄沙下风的寒冷和血的味道!
从企鹅叼着金砖出场的那一刻
从企鹅叼着金砖出场的那一刻
姜河那前身look简直帅到没边但是义贼look刚出场时我死活没敢认那是他😂 剧情就…魔幻 | 还有剧外各位演员对这部电影好像付出了很多 战线拉很长 我也有很多期待但是老实说愧对期待
作为商业片节奏太差。学加勒比海盗完全学的很差。人物完全没有魅力 。
然后姜河那，我的天呐，真真是跨入喜剧领域了，也是自带笑点的那种。
这是一部让我从片名喜欢到幕后的片子，……也许，江湖就是这样吧，刀光剑影，酣畅淋漓，侠肝义胆，热血千秋！作为一个武侠小迷，很欣赏这部片子的打戏，一招一式尽显真功夫，一人一刀诉尽江湖心！
别的不说了，就说打斗吧，比起 雪中还是很诚恳的，就感觉用心在拍电影，就这一点 也不该5.9分！ 雪中大家都看过，那打斗连7、80年代水平都不如。
哎，5/10，乱七八糟的大杂烩啊，食之无味... 想起与神同行，看来剧情查了差不多的特效也觉得不行了😂。
男主演技在线，武打戏很丰富 比较真实 不是那种特效能比的，剧情也不拖拉，值得推荐，真是低成本高质量的一部好电影，很棒，算是武侠剧里很不错的的了，值得一看
海盗和山贼打打架谈谈情的历险记 韩孝周为什么要接这种没内涵的片 几年前的第一部有人看可以理解 这冲着演员去的商业片真损羽翼 反科学的离谱
古今东西大杂烩…… 如果只算作韩国新年档的合家欢娱乐片，因凑齐了各类观影元素和人气演员可以说是合格的。但如果抛开这个前提，作为时隔八年的续作，还是令人错愕，除了几次转折还算可圈可点以外，只剩下尴尬的演技、尴尬的剧情。2022年无厘头动作喜剧还能走多远？
女船长很帅气，其他...剪辑也太乱，剧情太简单...
看到后面真的会得深海恐惧症
男主演技在线，武打戏很丰富 比较真实 不是那种特效能比的，剧情也不拖拉，值得推荐，真是低成本高质量的一部好电影，很棒，算是武侠剧里很不错的的了，值得一看
服化道比现在绝大多数电影要好，打斗真实，没把观众当傻子，有王家卫武侠电影那味儿。
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