满怀希望地下了来看,可以说是失望。
玛雅真的没有性生活?导演想表达的是玛雅是个坚定,执着的女性,可有点过了吧?人家在南极蹲点科考的科学家们在南极消耗最大的就是安全套啊,奥运会也是个性趴哦,总之,没有床戏,我不相信。
玛雅如何在高中就被招至CIA?玛雅如何说服局长?
新型直升机那段,也有点假。
海豹队员叫了句osma,就能引出拉登并且击毙?
很多情节没交代完就下一场景了,我是不是看的阉割版?
BTW,只看我看了一个版本叫刺杀本拉登,是从海豹的角度来描述的,好歹像那么回事。
“我就是那个他妈的找到这个地方的人”
(12/19/2012 AMC Century City 15早10:30am映场)
毕格罗的电影,无论是《猎杀本拉登》还是《拆弹部队》,都很难看出导演对战争和复仇的态度,她更像是试图用一种与己毫无关系的镜头描述发生的事件:支持或者抗议战争,认同或者反对复仇,都只是每个人看过电影后的私人体验,而观众通过导演镜头下看得见的,是人的状态:无论是《猎杀本拉登》里心力憔悴的CIA分析员,或者是《拆弹部队》里对拆弹几乎病态迷恋的士兵。
电影中一个情节:CIA的分析员Maya和他的上司Joseph向时任中情局局长帕内塔部长汇报进展,说我们在巴基斯坦的阿伯塔巴德发现一个白色连体寓所,可能是本拉登的住所,但不确定。帕内塔显然并不满意这个回答。他说“下次开会的时候,你们必须告诉我更多关于这个寓所里住户的情况”。会议结束,帕内塔问Joseph:“这位女士是谁?”,不等上司说话,憋屈已久的Maya脱口而出:“我就是那个他妈的找到这个地方的人(I'm the motherfucker who found this place)”
片头出现September 11, 2001时
Mrs. Bigelow is obsessed with obsession. Blue Steel, Point Break, the Hurt Locker, now Zero Dark Thirty. The background of the story changes, the story remains the same. Behind different faces, the same obsessive character. The obsession portrayed in her films actually is quite simplistic and straightforward but anyhow, in our time her "oeuvres" are considered as deep, realistic, and arty. After an adrenaline fix come the inevitable frustration and emptiness of living, Mrs. Bigelow shows it to us over and over again; her hero has a conniving streak in him/her, but a hero nevertheless. She's so focused on her obsessed character, it's easy for her to claim that the Iraq war film she made was apolitical, and ZDT, a political thriller, has no political agenda.
猎杀本·拉登:必看的剧情片 昨天还玩儿使命召唤呢 这电影太带感了
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