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.
真人故事比这个更燃更励志，电影还是过于平淡！！！
如果把这部电影看成是一部励志电影，倒不如看成做纯粹的自己来的更贴切，华纳作为有梦想有志向的橄榄球运动员，对于自己的选择一直坚持，不管逆境顺境，坚持做纯粹的自己，战胜自己，结果赢得了想要赢得的结果，无论是唯一擅长的橄榄球还是一直专一的爱情。这部电影值得慢慢品味。
作为NFL最励志的传奇，华叔的故事终于搬上了荧幕。本作的表现可谓四平八稳，讲述了科特华纳如何从一个落选新秀到成为Super Bowl MVP的历程，选取的片段也很有代表性，如在UNI的比赛学会留在口袋，在Arena Footbal的比赛学会快速出手，以及第一次NFL首发对阵雷神。同时也花了大量笔墨介绍他的家庭，特别是和他妻子的相遇以及互相扶持。全片传达的思想也很明确：If you have only one shot, you should be ready when the opportunity comes to you.
除了女主太丑，其他一切OK，毕竟基于真实故事改编比较励志
演技8
反派长的像大号版小恶魔[Emm]
虎毒还不食子呢，制毒夫妻自食恶果也是活该，不过这部也放大了老兵的闪光点，虽然对犯我者毫不留情，但却对狗心怀怜悯。结尾是想让我们看到一个小女兵浴火重生吧。
Kurt Warner的生涯真的有那么一种传奇的色彩，从落选到进入联盟到拿到MVP和Super Bowl。这些看起来本不该一起发生，但他真的做到了。
比1逊色不少，听音辨行部分少了很多，所以几乎没有让我想屏住呼吸的片段。老头实惨，小女孩开头躲避坏人那段倒是挺很好看。
老头靠着水波纹开那三枪设计得很精彩，看彩蛋没死就好。
这片体育的部分拍得非常体育 甚至使我懂了点橄榄球 但它的确右得不得了
小姑娘惨！实惨！被变态老大爷抢去做了假女儿，又被老爸老妈抢回去要她的心脏做手术，各种心塞啊。最后可怜的还是两只狗狗，一个莫名被害，一个被残忍抛弃。老爷子虽然有点变态，也死得其所，但是对女孩来说他是真心爱她的。
节奏真的挺拖沓的……不是，老头叫女儿走，女儿就走了，但从反派那策反的狗还是排除万难跑回来陪老头？？？怎么感觉怪怪的
当你最失落的时候，有人说你可以的，你ready的，多重要啊 YF
2021年第255部：老头眼瞎是怎么看到电线的？这些人是要救女孩还是杀女孩。。
已经完全没了第一部那种新颖的感觉，主旨偏离主题，就是无脑R级片了
亲妈出场把我吓个半死，节奏蛮好的，延续第一部的风格
老叔配小女孩的组合 模式好像都是这样 老者倾其所有 小女孩觉醒 想起金刚狼3和Leon
简直就是杀来杀去的血浆片，毫无逻辑毫无意义的故事。比第一部差很远，屏住呼吸的构思也只有在一开始房间里那段才得到传承，后面就是编剧一通瞎编。
盲人老头的战斗力又加强了不少，且手段还是那么狠辣，没有第一部压迫感强，但全片的紧张节奏还是一直保持，而且新出现的小女孩也是亮点，但是更血腥了有没有，小女孩为求生拿着长柄西瓜刀剁毒妈妈手臂直接看傻了有没有，看样子有续集，瞎子战神老兵的气场太强了
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