Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.
To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.
At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.
Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
有剧情有特效有打斗有教育意义，这不比隔壁几部好看？
反派铁扇公主很美艳。
虽然很多梗是老的，但作为一个不属于80后的IP电影，陪孩子看一次竟然发现还不错
去电影院前还有点怨念，去之后，真香，很好看，大场面也很激动人心，阿布很可爱，熊出没这么多年始终都在宣扬爱护环境这一主题，并且贯彻的很好！
儿子打的三星半，我打的四星，看是还可以，又没到那么好看，不过明年再拍还是会支持的，如果孩子还想看的话
现在国内的动画电影做的真的挺好，我觉得视觉效果不输迪士尼
特效还可以，我真的太喜欢那种充满烟火气息的街道村庄的建模了。
陪侄子看的，孩子看得津津有味。
没有上一部狂野大陆好看，上一部基因大战反派好歹有点脑子，这一部基本上是把所有人都进行了降智操作，用来突出熊二蠢萌的英雄地位，熊大光头强这次怕是连陪衬的戏份都算不上。本片的赛博朋克质感做的不错，感觉不比去年的差，对经典影视元素的运用也能看出导演是个有着迷影情怀的人，简单粗暴的元素输出虽然直接，但是不够高级，希望下一部能过提升一下人物的智商。
概念相较于之前不那么新奇，不过电影后期的画面真的是每一分钟都在烧钱
男孩子看得很入迷，想看温情治愈的慎入吧。
片中的梗也不少：钢铁之躯、蜘蛛侠、风之谷巨神兵、机甲大战等等。
我愿称之为国产动画电影最强IP，这个系列的春节档已经做得相当成熟了，只是电影票90一张，快看不起电影了……
虽然剧情是美国、日本各个大片和动画的缝合怪，虽然这部离谱程度和后面几部《速度与激情》和《名侦探柯南》剧场版有的一拼，但还是被熊二的大智若愚的熊格特征所感染。（哦，对了，都是科幻，这部比《上海堡垒》强太多了！！！）
2.5星。一度看不下去，旁边的路人小孩欢呼声太影响观感，好想给他个大逼兜！没看过的也不要去看了，不值票价！
居然有这么多人打一星 这电影的目标群体就是小孩儿 特效这么好 值得支持 本来打算三星的 现在得四星了
不过画面赶得上迪士尼了
捡东西应该交给警察叔叔啊，他们竟然要私自卖掉，还要买彩票。
Boonie Bears每年的贺岁大电影和每天电视里播的剧集完全是两种调性。去年的感觉COS了高科技版“动物城”。今年则“致敬”了漫游太空、星河战舰、环太平洋。真是剧集超低幼，剧场高科技。又科幻又热血，也少不了友谊和温情。这种创作思路简直逆天。甚至带动了周边，可以一边卖毛绒玩具，一边卖机甲……
陪娃看的，挺好笑，也有一些感动的地方。熊出没的电影毕竟是大IP出品，质量还是有一定保证的。
Copyright © 2015-2023 All Rights Reserved
