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.
安志杰还是那么屌，作为网络电影感觉可以，比一众流量院线电影强多了！
安志杰终于可以证明的一回，可惜影片不够大制作～
就挺普通的，剧情挺新颖的，但是结尾还是玛丽苏
陪儿子和他小伙伴去看的，竟然看进去了，挺好
两星，按网电算三星，单纯动作爽片，其他啥也没有。
嗯,能把那么多元素还算合理的编排出来,也是不容易.
网大动作，陈小春有重装战警，任达华有爷们信条，赵文卓有反击，樊少皇有神兵特攻。
很不错，我觉得评分四星半更合适。画面、配音都是专业的。剧情对大人孩子都很有吸引力，轻松搞笑还带点悬疑科幻的味道，顺便给小朋友普及了一点世界历史知识。我觉得比同期的大耳朵图图、皮皮鲁和鲁西西要好，没评分是资本宣传和流量吸引不够，不是片子本身的问题。
这种种伏笔让人非常期待第二部的解密，虽然我根本不想再看第二部了……
原来维纳斯的断臂是希娜弄的…那新疆警察不错…反派女主可以演《魔女》续集…
开头儿法庭乱杀有点儿王牌特工教堂那味儿~
没想到最抢眼的是女一号“疯婆子”，安志杰都被盖住了，小丑女+杀死比尔附体，这一路杀得很爽。
剧情真的很一般，可是动作及枪战设计不输院线大片。人物方面，安志杰无论正反角色依旧好帅，女反派有点年轻版辛芷蕾的即视感，其他反派都太中二晚期神经病了
孩子想看，就一起去电影院看了，上座率很高，内容一般般。
剧情快到像开了倍速还尬得要死 bug到处都是 只有几段打戏还算好看
安志杰fit，杨杏有辨识度，动作设计有水准，最大限度减少替身使用。整体节奏流畅明快。
●女儿角色塑造也不错，和女主是一组对照。
妹子最后应该跟瞎子在一起，哈哈，妹子有前途，剧本还可以再打磨打磨。
李子雄又出来打酱油了，一会儿。安志杰还在认真打，挺帅的。女反派真的很暴走萝莉疯癫款，什么都不在意，我杀杀杀。女儿还是很坚强的，被富二代虐了一轮也没影响。
菲拉萌挺可爱的，适合小孩看吧，就是感觉小白黑化的有点莫名奇妙
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