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.
未免太过理想化，剧情逻辑比较差，一星给画风
deku變蜘蛛俠 經費好多 打鬥分鏡狠 轟真帥啊😭我愛他 很寂寞看完
还行吧，王真儿的近镜头感觉都不像她了，全程就是着弟弟，清河好惨。
逻辑硬伤太多，小细节也有。打斗的一些场面还行，剧情拉胯
水猴子时间，水猴子大电影拍续集了哈，不是水猴子，其实这是南方的一种遗传病。好，下次攒一波水猴子再给大家鉴定🐵
我记得这个剧本之前看过，不知道买了版权没有，但是后面这个剧情明显是自己改的，这帮人就是拍网大捞钱的，真的烂
其实看一半基本能猜出来水鬼就是她兄弟我小舅子，越是这种迷信盛行的地方其管事的肯定有问题，事出反常必有妖，很好猜。但全片剧情还不是吊打绝大部分院线电影？
虽然有更多大场面，但是还是太俗套了。虽然看起来很热血，但是已经审美疲劳了，没有更有趣更大胆的创新，以及更多的惊喜。
什么破玩意，跟闹着玩似的，很迷惑有人说比第一部好，没看过第一部，第一部是烂成什么样了啊
虽然有不少地方处理的不好，但是制作还算有诚意吧。
冲着女主给四星，氛围营造和层层推进拍的不错，故事也有可看性，村民各种酱油角色也演的不错。国产恐怖剧小成本制作来说属于上品了，相对第一部来说情节和特效都有很大程度长进，而且女主在戏里面的造型非常好看，虽然演员可能正常情况没这么惊艳。抓水怪时候的机关设置也不错，用心了。
讲故事的手法还是薄弱，当整体已经算良心制作的网大了。
不懂，韩栋的角色是打了个酱油吗🤣🤣
还是喜欢TV版，映画版的故事过于俗套，热血也不够，毕竟王道漫画还是需要长久剧情进行铺垫的。
两个反派虚假的强硬？
虽然有更多大场面，但是还是太俗套了。虽然看起来很热血，但是已经审美疲劳了，没有更有趣更大胆的创新，以及更多的惊喜。
女主演技不错，王真儿现在青衣路子越走越稳了
导演想拍一些优质的艺术性的镜头然而没那个能力。走剧情的镜头也经常上下文连的莫名其妙。女主穿旗袍破案选择性解剖。。你穿个马裤不方便的多？女主都摸到坏蛋老巢了村民没一个跟着，拜托你们娃都在这呢一点都不着急吗？所有的“反转”都可以猜到……无趣。
就是很喜欢出久，傻傻的，热血的，善良的，一根筋的。超级棒。另外结尾的打斗很精彩。
动作戏算是在近年来的动画里算是比较好的批次里。。
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