东墙飘香梦

第一次看希区柯克的电影，以为会是很枯燥的艺术片，结果完全不是，具有艺术上的先创性同时又有可看性，这似乎也是他的最大特点。全片镜头的角度（如女主跟旅馆老板对话那段），悬念处理，气氛营造，观众心理的拿捏，细节的埋设（如旅馆老板的扭屁股）等都非常精致，女主早死大胆，很多手法都在之后的《致命ID》《误杀瞒天记》等片看到过，精神分裂、恋母情结等心理挖掘很超前。结尾反转惊艳，旅馆老板的演员等于演了三个人。而且很多优点直接就能学来用的。整个故事也好，完全可以进行现代化改编，票房绝对仍不会差，美国似乎近年就出过一部衍生剧。但不完美的地方也有，凶杀的镜头可能是碍于海斯法案，全是第一视角，血也假，女演员表情反应也很浮夸。另外结尾处的大段解说虽然也算必要，但是方式真的很生硬。但这些都是时代局限，无损于导演的伟大

颜丙燕演技真真了得，一颦一蹙都让人信服。卖18块的饮料、生青苔的老屋，细腻真实，克制冷静。但前后两部分衔接生硬得紧，小宝的表现实在是太青涩了，拖了后腿。可惜看的是普通话版，始终像是和画面里的武汉隔了不止一层玻璃。

感情是荒谬的。If the love destroys your family,it will destroys itself.In a long,slow,degradation of guilt and regret and blame.

4.5; Never before have I seen a zombie film with so many layers. The symbolic meaning of the infection is announced from the very beginning through footage and words to be 'rage', and the violence induced by it henceforward becomes the centre of the film's criticism. But what adds to the film's complexity is the fact that the protagonist is empowered only by rage to fight for those he loves and defeat the purposeless soldiers, who by contrast fight for nothing but themselves. The film thus indicates a place for violence in humanity and hints that violence is not inherently the abject. It also draws a comparison between two archetypes of fatherhood: permissive & autocratic

来得早不如来得巧，明天去广州的高铁。