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      "body": "<html>\n<p>网文大神跳舞在知乎“如何评价张鹏执导电影《阿修罗》“的问题下，关于奇幻主题电影的内容要如何做好，是这么说的：第一，要有个可信的世界观；第二，要有个在合理的基础上，同时还比较好玩而且比较丰满的故事；第三，需要有几个人设讨喜的主要角色。</p>\n<p>《阿修罗》这三点，全败了。而《风语咒》这三点，做得都还行。</p>\n<p>所以这片，有点意思。《风语咒》是部很聪明的“小”电影。首先是野心小。</p>\n<p>虽说和《画江湖》有关联，但是完全不需要你去了解画江湖的世界观和故事背景，只是继承了《画江湖》设定的“侠岚”和“零力”这些玄乎的名词，不过就是二元对立的好人和坏人的代称。 单线顺叙剧情，绝对核心的主角，在保持故事完整的同时，电影极尽简单，估计是考虑到了小孩子，力求让他们也能够看懂。这在女主方面体现得尤为明显，为了保证所有的笔墨都用在主线和男主身上，电影甚至都没有给女主设置一个背景和出身，而只是模糊的让她从小到大都和男主产生关联，造出一种“天生一对，注定CP”的感觉。</p>\n<p>当然你也可以把这个取巧的设定看成是一种留白，有空的时候想想三生三世情缘什么的，反正电影里女主啥也没说，任你无限发挥。</p>\n<p>一路平铺下来观众们会看得索然无味，所以电影中间还是插了点悬念的，只不过这个扣子留的也是相当的浅显，当王富贵的漫画闪回时，稍微想一下，就能猜出结尾的端倪。电影的结尾也对这个悬念做出了回应，让结构更加完整，虽然在我看来，其实不用掰扯得那么碎投喂的。《风语咒》的小，还体现在布局上。</p>\n<p>故事单线，关卡也没做几个，如果把《风语咒》类比成一个RPG的话，那基本就是新手村，中级村，打Boss。主要的场景其实就是寿阳岗（看过几天忘了是不是这个名字了）和王家村，还可以加一个最后的魔窟。</p>\n<p>电影很聪明地把“拯救世界”这个大概念等同于“拯救寿阳岗”，使得故事和成本都在一个较小的可控范围内。当然“拯救世界”从来都需要具象化，不过比起好莱坞动不动的就是纽约芝加哥华盛顿这种大城市，家乡小村庄的套路更像是中二的日漫，虽然本质上并无区别，不过总觉得观感有点小气。理解还是能理解的，可想想还是有点夸张。上面这些算是夸的，下面说说个人觉得的不足。怎么说呢……兴许也算不上什么不足。</p>\n<p>在我看来，要说的这几点其实电影自己都知道，只不过在条件有限的情况下，为了收益最大化，所做的取舍罢了。换句话说，管你怎么要求指摘，上限也就这样。</p>\n<p>首先便是电影的表现形式和故事内核的矛盾。或许是我观念陈旧，总觉得这种日式最终幻想风的3D偏宅向，而女主双马尾，大长腿的造型更是对核心玩家的胃口，入水落坑之后的杀必死镜头显然也不是给小孩子看的。可是故事内核的“寻妈”主题，小白的情节却也说明了电影拓展观众群体，打造“合家欢”类型的野心，事实上我看的那场电影一多半是年轻夫妇带着小孩子来，自始至终熊孩子的喧哗声不断。</p>\n<p>从坐在我后面的孩子和父母的对话来看，故事小朋友是看懂了。不过在电影里晃来晃去的女主的大白腿，我倒是看得很开心，然而小朋友们……</p>\n<p>估计也看得很开心吧……笑料方面，电影包袱很多，自己造了很多梗而不是扒网上的剩饭，这点值得称赞。电影中最大的包袱之一是在王家村的桥段，而这一部分在现实的环境下很难臧否，看的时候我也确实没心没肺地笑了，然而冷静下来想想，实在是不知道该说电影踏实接地气不弄什么虚的，还是说合家欢混搭小成本B级喜剧的动画电影的恶趣味显得有点不伦不类。</p>\n<p>最后，作为一个外行人士，再瞎扯几句画面。画面上，《风语咒》依然延续了电影的制作风格：取巧。电影很聪明地把有限的成本和精力都放在了大场面以及有冲击力的画面上，比如最后的大全景，几场格斗戏，以及最后的罗刹群奔，给人以一种画质很好很精细的感觉。</p>\n<p>但是仍能从头发，青草，衣服的褶皱，皮肤的质感这些方面，看出电影的力不从心。不过这些可能就不是靠诚意用心或是简单的喊“国漫崛起”的口号就能解决得了的了，就在这些细节方面，也许才是真正需要努力追赶的差距。</p>\n</html>",
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      "title": "昨日青空｜25岁时我会这样的回望青春，但是36岁时不会",
      "body": "<html>\n<p>检票时，扫了一眼《昨日青空》的队伍，清一色是20岁左右的小姑娘，夹杂着几个陪女朋友来的男生。</p>\n<p>电影以2018年，主人公屠小意回到兰汐故乡为起点，然后回溯至1999年屠小意的高三时代，开始故事的主体。</p>\n<p>1999年，屠小意17岁……迅速的心算了一下，2018年，屠小意已经36了……36岁的屠小意，在动画里和17岁的屠小意并无太大的不同，显然这中间隔着的19年对于电影只是一个虚化的概数，无非是要告诉观众，17岁的青春已过，仅余回忆，现在大家不一样了。</p>\n<p>然而怀念青春这件事，总有个时效性。</p>\n<p>正处于初高中，能和电影中的人物状态，产生共鸣也好；比17岁大个三五岁，还风华正茂，有余味咂摸也罢，总之都还在青春号列车上晃荡；听着好日子飞速模糊的呼啸声，回望过去一岁岁的小站，畅想中还有下车后迷茫而又期许的未来，还能唱一句：“用全力去追，青春太宝贵，没机会，去浪费”的人，一切都还在进行时。“少年听雨歌楼上，红烛昏罗帐”，尚不识愁滋味的年纪，品了点甜苦，便以为是天大的事，认真而单纯的伤春悲秋，然而所谓缅怀，大概是五十步笑百步。</p>\n<p>年龄稍长一点，刚下了青春这趟车，知道时间一去不复返，却因为尚未走远，总是忍不住回看；有些事情已经明明注定，却总是给人以一伸手就能改变结局的错觉。明明心性已经比年少时成熟了许多，却更容易做些求不得的徒劳事，再来怀念青春，大抵是痛的。</p>\n<p>而到了拿着保温杯泡枸杞的年纪，青春什么的和白垩纪的化石并没有什么不同，夜深人静醉酒之后也许会想起点什么脸上一红，但是公开回望和怀念都是一件比较羞耻的事情，少年少女们的中二台词只觉得溢出屏幕的尴尬，说出来的总是太轻太矫情，倒不如彼此间的沉默，和心照不宣的画外音。</p>\n<p>本来我这种老腊肉，几乎肯定确定的是在《昨日青空》目标群体的约数之外，无须取悦，说啥对于粉丝肯定做不得数那种。可是电影的年代设定却又好像还是要往80后90后的“老年人”死寂的心水里投石，似乎还是想激起一丝波澜。说起来1999年真的是个很妙的年份：世纪之交听起来就又远古又高大上，而在这个刻度上，往前拨5年或者往后拨5年，生活好像未改变太多，明着只是一个断点，而实际上却是混杂着中年人和年轻人共同记忆的一个断面。</p>\n<p>从99年一开始，电影就倾泻出各种具有强烈时代色彩的意象来撩拨这份共同记忆：俄罗斯方块小游戏机，灌篮高手，黑板报，信箱，健力宝，北冰洋……这种倾泻甚至有些夸张，比如神似流川枫的齐景轩，一对二之后的几个灌篮特写。在电影院里看见曾经的那些物事，被精细地还原成动画的确是一种奇妙的体验，但是更多的还是感叹画工的高超和情怀，触动其实寥寥。无聊的我还是一直在纠结那些感伤略显做作的旁白，居然是经由一个比我还大好几岁的男人口中说出的这件事上……</p>\n<p>电影有着强烈的新海诚的风格，无论是在故事还是在画面上，都像是以《秒速五厘米》为主体，《你的名字》，以及《云之彼端，约定之地》的杂糅。而在另一方面，在用“高三”设定好懵懂的情绪，和离别的结局之后，情节如何对撞“高考”这个绕不开的话题，也成为了片中矛盾所在。</p>\n<p>电影处理的方式是以梦想之名优雅地逃离，并且用各种特殊家庭，文艺特长的设定虚化高考的压力，即便是最接地气的姚哲恬妈妈，也只是嘴上逞能，看见女儿和几个男生出去之后，似乎也没什么表示。</p>\n<p>嗯，理解起来不难，接受起来也不算太难，就是感觉高考都没那么弱，新海诚式的小清新完全压制本土化升学压力和紧张气氛，“差生”们几句话就绕过高考，梦想成真有了美好的前途，这观感和现实的撕裂，着实有些大。而有些台词或许还是外语听起来顺耳点，那么直接地念出来……好尴尬。</p>\n<p>在对新海诚的学习上《昨日青空》似乎有点饥不择食。静态画面和背景的清新美观，小物事的精细绝对值得称赞，尤其是那个……什么什么塔，做得真是好。而铁道，桥洞，绿森林……这些有着强烈日式动画风格的画面电影也是难以割舍，不过都加上了标语，横幅，涂鸦以示本土化，一眼看去，还是有似曾相识的感觉。</p>\n<p>不过最要命的是，电影连新海诚原来的毛病：人物造型一般，动态僵硬这些……也一并学了去。不是动画专业人士不敢妄言，然而仅从直观来说，几个主角长相有时真的挺崩，动作也是真的挺生硬；最后一幕姚哲恬跳舞本来是高潮，气氛真心是不错，最后的收尾也不错，但是中间呈现的舞蹈实在是……有点难看。</p>\n<p>扯得差不多了，该收尾了。还行吧，别期望太高，年轻人也许能看出点别样情怀和惊喜。</p>\n<p>完。</p>\n</html>",
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      "title": "阿飞正传｜就这么消失，也许是最好的结局",
      "body": "<html>\n<p>曾经有个朋友，我们都叫他“阿飞”。原因很简单，因为他的名字是XX飞，所以顺口就叫了阿飞，觉得真的很顺口。</p>\n<p>虽然有时候大家在一起会嘻嘻哈哈，开很无聊的玩笑，不过从来都是无伤大雅，也没有像不良少年一样，做过很出格的事。</p>\n<p>阿飞也并不是“阿飞”，而是很努力很上进的好学生，考到了很好很好的大学，毕业之后做了大城市的公务员；</p>\n<p>后来……在我还有女朋友的时候他还是单身，在我单身的时候得知他要结婚了。</p>\n<p>晓得这个消息的时候我们俩相距几千里，而且已经好久不怎么联系。</p>\n<p>于是通了一次电话。说什么具体记不清了，无外乎祝贺一下唠唠近况，说说段子打打趣，</p>\n<p>最后你好我好，随口找个理由下线。</p>\n<p>当时是找了一间空着的会议室，放下手机后，愣愣的，坐了好久好久，好像啥也没想，就是单纯的发呆。</p>\n<p>其实只是不想回去工作，逃班吧。</p>\n<p>然后到今天，我和阿飞没再联系。</p>\n<p>这段私事，和《阿飞正传》并没有什么关系，但是每次见到“阿飞”这个名字，还是忍住不回忆阿飞。</p>\n<p>电影里的阿飞也并不是“阿飞”，更多人叫他旭仔。</p>\n<p>嗯……好像并不是不是。</p>\n<p>嗯……整日撩妹，不事劳动，出手伤人，寻衅滋事……旭仔的做派，确实像个小阿飞。</p>\n<p>所以他和我的朋友阿飞不同。</p>\n<p>总是一副慵懒，凡事都无所谓的表情；</p>\n<p>会随口说出撩人的情话，也会淡漠地用“不”字揉碎情人的心；</p>\n<p>无牵无挂，在女人面前，新欢，旧爱，还是养母，肯定是最后的胜利者……</p>\n<p>一眼看去，《阿飞正传》是部挺简单的片子，阿飞也是个挺简单的人。</p>\n<p>寻常的我们，站在离阿飞几万光年的地方，看着他飞，心生怜悯，心生羡慕，心生自伤自怜。</p>\n<p>在乎的太多，所以飞不起来。</p>\n<p>没有牵挂，没有归处，不问前程，不回头的作别生母之后，旭仔真的，可以肆无忌惮的飞了。</p>\n<p>作为旭仔的镜像，同样失去母亲，仅从心境上来看，刘德华饰演的超仔，似乎和旭仔并无不同。</p>\n<p>同样也是没有牵挂，没有归处，不问前程啊。而超仔似乎也向前了一步，他辞去了警察的工作，出来跑船，过上了漂泊的生活。</p>\n<p>在平常人眼里，超仔就可谓是离经叛道了，但是在旭仔的面前，还是显得老实和规矩。究其原因，或许是因为，超仔还在乎生死，还在乎生活，而旭仔，已经连这些都不在意了。</p>\n<p>这意味着，他有了最大的自由，可以以抛弃这个世界的胜利者姿态，横行无忌。</p>\n<p>然而同时，所谓的胜利者，也是取死之道；旭仔的选择，无异于是在给自己的生命倒计时。</p>\n<p>又有什么好可惜的呢？本来走这一遭，该看景都看了，该爱的人都爱了，该伤的人都伤了，或许继续下去，也没什么意思。</p>\n<p>这条路，也许在当年旭仔的生母抛弃他时，就已经注定。</p>\n<p>苏丽珍变老了，大概会变成一个可爱的老太太，贤妻良母，勤俭持家；咪咪变老了，大概会变成一个霸气的大姐头，带着一帮小妹，呼呼哈哈；超仔变老了，大概会变成一个严肃的老头，一板一眼，偶尔流露出孩童般的可爱模样；</p>\n<p>但是我们似乎难以想象，旭仔变老后会是什么样。像现在这样下去，继续潦倒，容颜老去，瘦骨嶙峋，怕是要落得个晚景凄凉，恐怕人们并不忍看。</p>\n<p>娶妻生子，安稳度日，尽享天伦之乐，这样的结果倒好，但是那个满不在乎的胜利者阿飞，在精神上也早已死了。</p>\n<p>思前想去，就这么消失了，对于阿飞而言，也许已经是最好的结局。在我们的印象里，阿飞就是永远年轻的，他是最好年华的张国荣，最好年华的梁朝伟。</p>\n<ul>\n  <li>前两天查过香港的房价，好高好高，所以大家都住鸽子笼，阿飞的小屋子寸方之地，框的是拘束和闷气；</li>\n  <li>镜子很重要，既是墨镜王的表达，又能逗弄观众；很多时候我们以为看的是现实，实际看的是镜中人。</li>\n</ul>\n</html>",
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      "title": "广播时间｜每个人，都会面临那么一段“爆肚风云”",
      "body": "<html>\n<p>《广播时间》，日本著名编剧三谷幸喜的导演处女作，绝对堪称小众的日本喜剧小品，另一个稍微为人所知的名字是——《爆肚风云》。</p>\n<p>实际上在视频网站和某些评分网站上，《广播时间》是查不到的，《爆肚风云》才是正统。</p>\n<p>对应着日文名的“ラジオの時間”，直译过来的《广播时间》更为贴切。不过细究起来，《爆肚风云》，这个听上去略显浮夸的港版名字，里面颇有些门道。</p>\n<p>当然不是北方人第一印象中的咔嘣脆的爆肚。</p>\n<p>粤语中的“爆肚”，是说因为没有准备，所以临时现编说辞，以前的香港电影电视艺人最喜欢这种表演方法，后来更成了风气，大受观众欢迎。</p>\n<p>真正明白了“爆肚”的意味之后，再看电影，就会觉得确实，嗯，这个名字，似乎比平平无奇的《广播时间》，更为贴合。</p>\n<p>因为电影从头到尾讲的就是一个“爆肚”的故事。</p>\n<p>“爆肚”的原因倒不是因为没有准备。主妇美弥子的剧本可能算不上多优秀，但是稍微弄弄做个广播剧大概还是没啥问题。</p>\n<p>问题就是这个“稍微弄弄”上。广播剧就得有人演角色，有人演角色就有人动心思要改剧本。改还是不改，这是个问题。</p>\n<p>问题是提要求的是女主角，难伺候的大牌。</p>\n<p>箭在弦上了闹这么一出，压榨菜鸟作者总比大牌罢演毁了节目强，所以，改。</p>\n<p>女主角加戏，男主角又不干了，旁边几个资历老的配角，也动了心思。……</p>\n<p>事情就这一步步走向失控。后台争斗了千百回，不过听广播的卡车司机也就是多过了几遍广告和主题曲，末了径直的冲向电视台，涕泪横流的对着已经精力耗尽的导演和统筹说：“这节目太感人了！”</p>\n<p>作为开了上帝视角的观众，我们自然知道这部广播剧能完整播完费了多大的气力，然而卡车司机却不知道，也无须知道，他的选择超级简单，听得下去就听，听不下去就转台。其实在大多数时候，大家都是“卡车司机”，我管你播出来的广播剧，放出来的电影，做出来的节目是多么辛苦，后面是多么的鸡飞狗跳，原作的本子如何，好听好看我就听着看着，不好听不好看我就换台。</p>\n<p>似乎对于创作者有些残忍，不过现实如此，谁的工作不是看结果的？</p>\n<p>所以牛岛那一番演讲才会听起来既冷酷又无法反驳，“Done is better than perfect”，完成胜于完美，才是这个功利世界的运行法则啊。</p>\n<p>不过他后面的“总有一天，我们要制作出能使我们自己问心无愧的作品”却有些讽刺，在创作者耳中，不管你是否是真心，听起来都像是敷衍安慰和画大饼。</p>\n<p>电影里讲的是广播剧，但是角色扮演，我们可以平滑的推到电影，推到电视剧……范围再大一点，尽可以推到各种需要团队协作，又有时限的项目上。</p>\n<p>你提出个点子，想得挺好，结果实施起来，这个插一榔头，那个捅一杠子，最后做出来的，与当时想的千差万别。你是不是该懊恼做出来的东西怎么就不像琢磨的那么好了？</p>\n<p>不，你该庆幸，好歹做出来了。电影是造梦的机器，而同样作为创作者的三谷幸喜，最终给了美弥子一个不算圆满的圆满结局。</p>\n<p>创作者几无可退的底线，在唐泽寿明饰演的还有热血的导演和一干演员的努力下，守住了。</p>\n<p>回到现实，大概还是，完成大于天。</p>\n<p>三一律，长镜头，男人沉寂的热血，女人隐秘的妄想，这些在三谷幸喜后面的作品中反复出现的元素，全部都在处女作中体现出来。</p>\n<p>不过说实话，我对于他的长镜头倒并不太感冒，小巧空间内的辗转腾挪是其特色，看起来十分流畅，也显出场面调度的高超，不过总有点僵僵的感觉。</p>\n<p>电影还有个很重要的点，就是很吃台词。不懂日语的观众，关于改剧本的各种“笑果”能不能看出来，全得仰仗字幕。不得不说，翻译的水平很高，很多表达都能不失味道的用中文还原，也让人能更好的领略到电影的魅力。尤其是“娃疯了”这种，更是点睛之笔。</p>\n<p>不过再优秀毕竟翻译过来还是有文义的缺失，这时候如果懂日语就能领略更多的妙处……毕竟如果你看过《名侦探柯南》就知道，日本人是有多喜欢在词语这种“小细工”上下功夫，而三谷幸喜这种专于喜剧，爱玩花活的编剧，更是如此。</p>\n<p>上面这段请带着批判的眼光来看，你们就当我是在秀优越好了~</p>\n<ul>\n  <li>铃木京香没想到年轻时这么可爱；</li>\n  <li>真是主妇出人才，凑佳苗，沼田真帆香留什么的。</li>\n</ul>\n</html>",
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      "body": "<html>\n<p>看《阳光灿烂的日子》时，很难不想起《牯岭街少年杀人事件》。</p>\n<p>作为青春物语，两者有着太多的相似元素：一个精力旺盛，内心宇宙丰富，却又不知如何燃烧荷尔蒙的小少年；</p>\n<p>一帮熊孩子组成的无所事事，四处惹事生非的“帮派”；</p>\n<p>火并，互殴，流血。</p>\n<p>一个若即若离，周旋于各方，暧昧不清的女孩；因为痴恋这个女孩，兄弟阋墙，小少年最终疯狂爆发。</p>\n<p>甚至在镜头方面，第一次拍长片的姜文，和他在“北洋三部曲”中招牌式“哐哐哐哐——咚~”的快速剪辑各部位特写，后接中景中长镜头的影像风格几乎判若两人，悠长的固定镜头和以人物为中心缓缓的跟拍镜头，徐徐推进的节奏都与《牯岭街》颇为神似。</p>\n<p>然而少年们都有着差不多的筋络皮相，若是再多看一眼，就能发现内里乾坤的迥异。</p>\n<p>从名字上就可以看出端倪，一个是“阳光灿烂”，一个是“杀人事件”，第一印象开始，就岔走了。回忆里的马小军大多时候总是一副嬉皮笑脸，无法无天，到哪里都是一副贫嘴。</p>\n<p>小四则是木讷少言，倔强刚直，除了后段在医务室里集中的一段表露出少年心性，似乎连笑容都很少。这也让两个故事，气质上先分出了明暗。</p>\n<p>故事结构上，《阳光灿烂的日子》以马小军的第一视角回忆展开，他就是剧情的主轴，无可争议的核心。虽然我们可以从他的回忆缝隙拼凑出其他人物的侧影，但是他们的存在只是为了马小军的叙述服务。与之相比，开启全知视角的《牯岭街少年杀人事件》更像是一个网状结构，小四是网中的重要一环，但是以他为起点，延展出的父亲，朋友，女生都有自己的一方天地，也因此增加了整个电影的厚重感。</p>\n<p>不过也难言《阳光灿烂的日子》是多么的轻盈洒脱，虽然它的情节简单，线条清晰，但是刺破马小军的回忆，我们知道诸多的美好只是长大后所幻想的，回望时的迷离梦境。由此正可以反推出，当时的少年是多么的怯懦而孤独。</p>\n<p>年代的阴影也增添了对“阳光灿烂”的怀疑和疏离。无论那时候的马小军过得的飞扬洒脱，还是唯唯诺诺，境遇都应该算是极好。从这个意义上讲，他的青春的确有资格“阳光灿烂，白云朵朵”。</p>\n<p>但是对于马小军的同龄人，恐怕很多也并没有能力享受和他同样的回忆。我的父亲便是如此，他给我们讲述的少年时期，是翻越十几公里去上学，是散学回家帮助父母忙里忙外，是一刻不歇的劳劳碌碌。</p>\n<p>而对于马小军的大部分晚辈们而言，这种放纵同样的不可思议。现在的学校，即便一直退让，但约束仍在，而家长更是不断的对你施压。像我的小时候整天被耳提面命的便是：“好好读书，否则长大没有出息。”</p>\n<p>换而言之，无论什么年代，绝大部分人的青春，甚至是一生，都在不断鞭策向前中疲于奔命，而在明媚的阳光中忧伤的马小军，是不属于绝大部分的那一小撮人。</p>\n<p>这层隔阂并不会阻碍我们对这个简单的青春期故事表象的理解，那份懵懂和悸动还能引起有过类似经历的人们的共鸣。但是似乎虚化的背景更能引起大家的关注，就像对于青春的时候心仪的女孩一样，离得越远越想向前，我们总是小心翼翼的故作不经意接近，一颦一笑，都在心里转好几个个儿来琢磨。</p>\n<p>多年之后，我们可能也猜不到到底她是什么意思，到底是谁在自作多情。就像在《阳光灿烂的日子》里一样，剩下的记忆只有天很蓝，阳光灿烂。</p>\n</html>",
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      "body": "Congratulations @qlpyzz! You have completed the following achievement on Steemit and have been rewarded with new badge(s) :\n\n[![](https://steemitimages.com/70x80/http://steemitboard.com/notifications/posts.png)](http://steemitboard.com/@qlpyzz) Award for the number of posts published\n\n<sub>_Click on the badge to view your Board of Honor._</sub>\n<sub>_If you no longer want to receive notifications, reply to this comment with the word_ `STOP`</sub>\n\n\n\n**Do not miss the last post from @steemitboard:**\n[SteemitBoard World Cup Contest - Final results coming soon](https://steemit.com/steemitboard/@steemitboard/steemitboard-world-cup-contest-final-contest-result-coming-soon)\n\n> Do you like [SteemitBoard's project](https://steemit.com/@steemitboard)? Then **[Vote for its witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1)** and **get one more award**!",
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      "title": "超时空同居｜有钱买不来可爱，爱情和老丈人让人恪守良知",
      "body": "<html>\n<p>一向对于国产爱情喜剧相当的宽容。严格说来，不仅是国产，对于哪里的爱情喜剧，都相当宽容。</p>\n<p>作为特点鲜明，野心不大，下限挺低上限不高，专注于取悦固定群体的商业类型电影，叙事结构的雷同就不说了，就连叙事内容，九成九都会用差不多的套路。 反差男女→巧合遇见→欢喜冤家→感情升温→情敌出现→悲剧结局劳燕分飞→喜剧结局破镜重圆。</p>\n<p>套路之所以是套路，就是经过了无数次的实践检验证明行之有效。其实仔细想想也是，说到底就是看人谈个恋爱，这事儿吧，大致的过程也就那样。<br>\n绝大多数的此类电影目的也单纯，把多愁善感还中二的小年轻哄进电影院，俩人最好，一个人也行。逗一乐或者赚点眼泪，消磨俩小时，齐活。<br>\n人少戏少场景少，意思就是成本低，小年轻哄好，票房的下限就有了，上限是玄学，看明星看品质看爆点还得看档期看命，大赚的可能性不大，然而也不太容易赔本。 稳稳地按照套路走好，开头有美女，中间有波澜，结尾能发糖，卖相就出来了。</p>\n<p>不过爱情喜剧流行了这么多年，出来了那么多部，就算都是同一个模子，具体下来也能分个三六九等。人民群众也都看过那么多片儿了，摸得门清，套路不加点新玩意，搭配点高级货，想卖好？难。而事实证明，《超时空同居》卖得挺好，将近9亿的票房说明一切。口碑也不错，评分网站给出的分数都是水准之上，大家对佟丽娅和雷佳音两位主角也都是赞誉有加，“土味情话”，“熊猫型男友”更是风靡一时。 电影搭配的新鲜货显而易见。首先在男女主角的“错位”上，不是身份不是性格不是地位，而是……年代。</p>\n<p>在穿越流行的当下，2018年和1999年谈恋爱的设定，其雏形也许早已存在于网络文学和论坛讨论之间，不过具体的影像化实践，《超时空同居》应该还是第一次。追本溯源，这应该算是传统爱情电影男女年龄错位，老少配的变种。如果你恰好读过那句“君生我未生，我生君已老”，再回头看这部爱情片，大概会有一种“得偿所愿”的庆幸。</p>\n<p>而对于80后90后的观影主力来说，99年的世纪之交又是一个情怀卖点。磁带，邓丽君，陀螺……这些童年回忆罩上年代的滤镜，又与2018年的现实产生对撞和交锋，无疑会让很多观众的内心掀起波澜。 自由穿越的“旋转门”也让我们的很多发财的假设得以实现。电影中用的是见效最快，最为简单直接的买彩票方式……依照套路，当然是不会成功的。</p>\n<p>不过我们还是可以YY一下，有机会买房买比特币买茅台买腾讯……大概混到2018怎么也不会太差。</p>\n<p>说回电影。与谷小焦回到过去的情怀相比，陆鸣来到今天的桥段显然更有“笑果”。像“刘姥姥进大观园”一样，在现代科技面前笨手笨脚的陆鸣提醒了我们，这20年来的时代变迁，对人们生活的改变是多么的巨大。</p>\n<p>而“自己抢自己的女朋友”的设计无疑更是电影的亮点所在。套路里，爱情的对立面往往是金钱，这也是陆鸣和陆石屹所代表的双面。然而很明显“两个”男人间的矛盾不止于此。陆石屹一方面活成了当年的陆鸣“希望的样子”，另一方面却又变成了陆鸣和谷小焦都“讨厌的样子”。&nbsp;</p>\n<p><strong>有钱买不来可爱，爱情和老丈人让人恪守良知。</strong><br>\n开头埋下的谷小焦身世引线，与后半部陆石屹的暗黑发家史对应，给本片增加了悬疑元素。穿越旋转门的设定需要囫囵给一个解释，但是籍此就打上科幻的名号还是不大愿意认同。</p>\n<p>以爱情喜剧为主，多搭了点类型，剧情立马变得丰满和立体起来。</p>\n<p>《超时空同居》是一部水准之上，亮点颇多的爱情喜剧。由于题材和类型的限制，它自然不会有多深的内涵和思考，若是以这个标准要求，未免有些强人所难。而如果只是看故事，看美女，看一乐，消遣俩小时，嗯，还是挺不错的。&nbsp;</p>\n<ul>\n  <li>陀螺的设定明显借鉴了《盗梦空间》，陆鸣看VR那一段依次恶搞了《泰坦尼克号》，《珍珠港》，《朗读者》，《断背山》，《你的名字》；</li>\n  <li>自己和自己较劲的电影想起来的有《环形使者》和《前目的地》，不知道有没有借鉴。</li>\n  <li>最后一幕扎心了……是的……我还是单身狗……</li>\n</ul>\n</html>",
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      "title": "阿修罗｜仨头镶钻，也哄不住5岁小孩",
      "body": "<html>\n<p>首先插播一条新闻，《阿修罗》撤档了。</p>\n<p>公告写得简单至极，为啥撤啥时候上，甚至还上不上都不甚明了。</p>\n<p>显然的是，在被《我不是药神》和《邪不压正》压制，票房和口碑明显双扑的情况下，头铁坚持只能继续心脏流血，认怂撤退……就影片品质来说，前景还是……emmmm，呵呵。</p>\n<p>强势预测一波，即便是瞅准空档再上，《阿修罗》也绝不敢磨磨唧唧的拖141分钟，不傻的，肯定回去大砍特砍，不砍到90分钟不算完，否则啥档期，对于这部电影都是修罗场。</p>\n<p>《阿修罗》你们能不能再看到我不知道，不过两个多小时的《阿修罗》，你们是看不到了。</p>\n<p>幸（不）运（幸）的是，我看过。看的时候旁边坐的是年轻的一家三口，小男孩大概4，5岁的样子，戴上3D眼镜之后萌萌的。当时就在想，如果将近两个半小时的片子能把这个小家伙一直按在椅子上，不睡觉，哪怕这熊孩子一直嘚嘚问剧情这个那个，就算成了。如果爹妈顾不上管孩子要我提醒然后还准备怼我的话，那就太成了。</p>\n<p>本来就对这个电影没抱期望，所以看这一家子的观影反应，倒成了主要乐趣之一。开场15分钟，进到木偶戏的时候，爸爸开始玩手机。嗯，这情节太低幼了，大人看不下去，不过小孩看着还是挺安静的。</p>\n<p>照这趋势，看来目标就是低龄群体，能哄住小孩，宣扬宣扬爱与正义？半个小时吧，放羊那段，来来去去的吴磊，放羊，特写……<br>\n惨了，这么没劲的……除了吴磊粉丝舔颜，小孩怕是要造反吧。</p>\n<p>果然，大概40分钟的时候，小男孩终于熬不住了，带着哭腔和他妈说：“妈妈，我要回家看电视！”开始闹起，大有不把影院掀翻不罢休的态势。没办法，妈妈就带着熊孩子去逛吃逛吃了，到最后也没回来。</p>\n<p>不得不说，走得刚刚好。因为进到阿修罗界，不仅更无聊……而且那些奇形怪状的怪物，对孩子也相当的不友好。</p>\n<p>就是……特丑。</p>\n<p>而一口一个“我的王”“我的王”的，更是尴尬无比。</p>\n<p>正好劝退了小孩子，大概到这一段电影是想走暗黑风了，开始善爱啊，欲望啊一股脑的端出来，可是除了堆台词，各种角度展示布景，外加吴磊的“粉丝向特供”杀必死特写换装镜头，还是剩下无聊和空空如也。</p>\n<p>磨磨唧唧到最后，梁家辉顶着情节杀和bug做掉了所有反对者，本来是仰天长笑“哈哈哈哈哈”的时候，结果内心煎熬不能自已的就挂了？因为爱？</p>\n<p>我的内心毫无波澜甚至打了个哈欠。</p>\n<p>平心而论《阿修罗》看出来是花了不少钱的，有没有7.5亿这么多说不好，但是某些布景，特效，确实挺大，挺不错。</p>\n<p>可能就是因为花了钱，结果哪个镜头都宝贝，这也舍不得剪那也舍不得剪，活生生的拖了140分钟。</p>\n<p>很多空镜头除了360度无死角的炫耀一下景色奇观，毫无意义。</p>\n<p>电影还有一种端着的感觉，或许也是为了照顾小朋友？所有人的语速都偏慢，单场戏的信息量极低，外加主线的平淡，造成的结果就是……菜的抠脚。</p>\n<p>更别提不中不洋的割裂世界观和角色造成的疏离。</p>\n<p>吴磊还好，角色单薄不是他的错。作为主角分得最多的镜头倒也合理，但是若是缩减时长，第二刀就得先把他那堆大特写和粉丝特供向镜头砍掉，水分太多。第一刀？当然是先砍啥也没有光看景儿的空镜头啊……<br>\n三个头，实质上梁家辉一个占了个正脸，吴磊和刘嘉玲是一人一半的背脸。就是面瘫念台词，最后情绪激动下，收工拿钱，不功不过。</p>\n<p>刘嘉玲这个头……真心就是凑数的，要不是后来看了简介根本不知道她还是“谋略之头”，电影和谋略根本沾不上边……所以除了神神叨叨的说几句话显示下存在，就没了。</p>\n<p>现在看起来，《阿修罗》欲望这头想太多，谋略这头认怂止血有待观察，洞察这头完全塌陷对市场对对手都估计不足……哪头都没落着。<br>\n不过，也没啥遗憾的。</p>\n</html>",
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