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.
想不到2022年还有这么老套的电影，这么智障的台词。就皮特耍帅那几下子能看，导演已经贴心地放在了开头，应该皮特下线就直接拉到片尾的，浪费这时间。
害，剧情还挺一般的，但是Channing的肉体值回票价…
第一看完了很高兴，第二，居然最后没有让他们拿到财宝，这真的是一个不一样的结局。
基本上就皮特那段不错，其余都啥，布洛克钱老板咋能搭一块，咋想的？
爆米花喜剧，角色魅力不大，但笑点很多，最大亮点在皮特的深度客串，是喜欢的类型。
omg笑死，应该去电影院支持一下的。革命精神in latin先苦后甜。
Sandy真是懂我笑点，好一些台词都很微妙可能大部分打低分的人觉得不好笑吧
桑大婶的爱情冒险喜剧，要是电影院看会很轻松有趣
正常冒险电影，图一乐呵，皮特的演出真的是效果满满。不过男女主的演出一般。
3.5 stars. For Channing Tarik’s bod. And the funny lines.
La comédie d'aventure romantique avec ses running gags qui tournent en dérision les codes du genre mais tombe elle-même inéluctablement dans l'ornière des niaiseries sans parvenir à frayer un chemin orignal. Quelques moments hilarants ici et là remplissent le cahier des charges d'un film divertissant dont la bande annonce résume déjà tout
桑大婶的爱情冒险喜剧，要是电影院看会很轻松有趣
幸亏没花钱去电影院看，没啥意思。丹尼尔演的这个角色，好像跟他在惊天魔盗团里演的反派是同类型的诶。皮特老了也还是帅，哈哈。
布拉德皮特戏份全在预告里了。真叫个全是算法，没有感情。大数据爱情片，比动作片还要惨烈。这么多明星好像都没有一个人走心。看在前面还能笑出来两声就两星好惹。
火山地震还能想着从那么小的一个隧道出去真是太专业了，这么宏伟的古城真是没想到，宝藏的话倒不是很难理解，毕竟没有进入世界市场，财富的衡量标准不同是很有可能的
很俗套，好多烂梗，怎么说的，就是感觉很浪费演员的剧本：毫无想象力。但钱老板的屁股是真的一绝，真的是无敌圆润。
Tatum和皮特一定欠了制作人或者布洛克很多钱，最值得看的场景基本上都在预告里面了，傻大姐的人设还是很讨喜的，硬是加了一点分。哈利波特出道太早了，没好好吃饭，身高居然差布洛克大半个头。
大姐虽然58岁了，但是还能出演探险类女主，也真是不容易了。
所有人都好像心不在焉的推进着主线，是我的笑点。
我国院线上了这么一部一星都不值的烂片。看到2/3就放弃了。稳提金酸梅了。
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