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Lau's Films

Gambling with movies, to win a touched soul or lose two hours of life.

http://i.mtime.com/Lifediscount/

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编辑 | 删除 Rrrring! Hello, Sidney? It’s Happening Again! (By JONAH WEINER of New York Time)

Copeth 发布于:

DO you like scary movies?”

 

That’s the question posed constantly and ominously by characters in the “Scream” series. Meanwhile the films themselves have winkingly asked the same question of audiences. The inaugural “Scream” (1996) was a watershed in its genre: a scary movie about scary movies, featuring masked murderers who buried their blades not just within trembling flesh but also within strata of quotation marks. When the movie’s hyper-verbal, seen-it-all teenagers weren’t busy stabbing or being stabbed, they were parroting “Psycho” dialogue, debating “Friday the 13th” trivia and reciting survival maxims (Look behind you! Do your best not to be a chesty blonde! Never say, “I’ll be right back!”) they’d gleaned watching countless other horror films.

 

The movie was a phenomenon. “At test screenings people were coming up saying, ‘Can you play it again?’ ” said Bob Weinstein, founder and chairman of Dimension, which made the film. “Scream” earned over $160 million worldwide and quickly spawned two blockbuster sequels, each one ramping up the splatter and the self-referentiality. In “Scream 2” (1997), characters discussed the merits of sequels, and both it and “Scream 3” (2000) featured a film within the film: an adaptation of the “real life” events of the first movie, entitled “Stab,” which birthed its own sequels and merchandise. If all the blood loss didn’t make the “Scream” heroes dizzy, the snake-eats-tail plotting should have.

 

On April 15 the franchise returns to theaters with “Scream 4.” In the intervening 11 years the horror landscape has changed. After the parade of recent remakes and reboots (“My Bloody Valentine 3D,” “The Texas Chainsaw Massacre,” “Freddy vs. Jason,” and on and on), undead titles might soon outnumber undead villains. Since “Scream” rejuvenated the slasher genre and inspired a wave of self-aware horror, (“The Faculty,” “Insidious”), all-out parodies have even emerged (“Scary Movie” and its three sequels). And with the rise of the so-called torture porn subgenre, graphic gore and complicated deaths have become almost de rigueur (“Saw,” “Hostel,” “Final Destination”), making the notion of a psychopath armed with nothing more than a nasally voice and a knife seem almost quaint. The achievement of the original “Scream” was not just its meta-layers, but also the way those meta-layers worked to enrich the thrills. By the ’90s it had become ritual among horror audiences to catalog and call out clichés — a way to interact with a film, but also to release tension and shake a narrative’s frightful grips. Here was a movie that explicitly invoked the clichés, folding them back into the horror and wielding our own jadedness against us.

 

“The genre had gotten stale. The conventions were so glaring,” Kevin Williamson, the creator and principal screenwriter of “Scream,” recalled in a phone interview. “If you approach a window, rest assured a cat is going to jump through it. If someone opens a medicine cabinet, know that when they close it, someone will be standing behind them. I wanted to poke fun at that, and I wanted a scary movie — to have my cake and eat it too.”

 

Mr. Williamson said that Mr. Weinstein had expressed an interest in revisiting “Scream” for “the last 10 years,” but that Mr. Williamson, who had intended “Scream” as a trilogy, and who was busy establishing himself as a go-to

chronicler of articulate, frequently bloodstained teendom (he wrote “I Know What You Did Last Summer,” created “Dawson’s Creek” and, most recently, helped to develop “The Vampire Diaries”), was unenthusiastic. Then, a few years ago, on vacation, Mr. Williamson began imagining another “Scream,” almost as a lark. “I started playing ideas out,” he said, “and one thing led to another.”

 

With Mr. Williamson’s proposal in hand, Mr. Weinstein approached Wes Craven, who directed the original trilogy, about signing on again. Mr. Craven, who made his name in the ’70s and ’80s with “The Hills Have Eyes” and “Nightmare on Elm Street,” had repeatedly rejected offers to direct the first “Scream.” “There’s been times where I’ve felt like, ugh, there’s some sort of bad karma in doing violent film after violent film,” Mr. Craven recalled. When it came to joining “Scream 4” he was cautious, but “committed once I saw the script.” (A fifth and sixth movie are in the offing, provided “Scream 4” performs well.)

 

The bids for contemporary relevance in “Scream 4” take different forms. Mr. Williamson incorporated details like video-blogging and social networking, both as plot points and as thematic soil to be tilled. And in the opening sequence the self-reflexive high jinks hit an unprecedented, nearly unhinged pitch.

 

But Mr. Weinstein was also certain that “Scream” boasts an appeal resistant to passing trends. He convinced the series’s three main stars, Neve Campbell, Courteney Cox and David Arquette, to return, explaining that “the thing that separates ‘Scream’ from other horror franchises is that people have fallen in love with those characters.”

 

Ms. Campbell said that, after the third “Scream,” “I swore up and down that would be the last. But when I considered it now, I realized there might be a good nostalgia factor.”

 

Comparing “Scream” to “Saw” and “Final Destination,” Mr. Weinstein said that his movie catered to a time-tested (and underserved) horror-movie appetite: “The marketplace today, people are so tired of gore. I’m sure those movies delivered to their audiences, but they delivered the one thing. ‘Scream’ gives people a full plate: scares, thrills, characters, humor.”

 

“Scream 4” also adds a new generation of horror-savvy pincushions, played by young actors like Emma Roberts, Hayden Panettiere and Rory Culkin. Ms. Roberts, who was 5 years old in 1996, remembered “kind of always knowing about ‘Scream.’  ” She said: “I like that it’s a random person who just snaps, and that Wes always brings it down to reality. Like, when the phone rings in this one, it’s the iPhone ring everyone has. He takes things in your real life and makes them scary.” Anyone who came away from the first “Scream” with a fear of Jiffy Pop knows what she means. The original trilogy, which Mr. Williamson wrote after “Natural Born Killers” in the wake of what he called “all this controversy about violence and cinema,” dramatized issues of artistic culpability.

 

“Scream 4” grapples with “profound moral and psychological questions about a generation that knows itself via tweeting and texting, not face to face,” Mr. Craven said. “You know, I’d get this creepy feeling walking around the set, seeing everyone’s head turned down toward a screen.”

Naturally he couldn’t resist a movie reference: “It’s like, ‘It’s the pod people!’  ”

惊声尖叫4 Scream 4(2011)
 

6 .9

惊声尖叫4(2011)

影评(332)|收藏(495)

回复 (0) | 162 次阅读

编辑 | 删除 A Single Man.

Copeth 发布于:

  A few times in my life I've had moments of absolute clarity, when for a few brief seconds the silence drowns out the noise and I can feel rather than think, and things seem so sharp and the world seems so fresh. I can never make these moments last. I cling to them, but like everything, they fade. I have lived my life on these moments. They pull me back to the present, and I realize that everything is exactly the way it was meant to be.

单身男子 A Single Man(2009)
 

8 .4 / 9 .0

单身男子(2009)

影评(853)|收藏(2435)

回复 (0) | 134 次阅读

编辑 | 删除 高达W

Copeth 发布于:

小时候看高达W时一直觉得莉莉娜多利安老是不苟言笑
与高达W中精彩的打斗剧情不合
希罗也是一样
仿佛永远不会开心笑一下
但现在再看一次
却获得了完全不同的感觉
终于明白希罗对于身世的痛苦
莉莉娜的孤独
还有他们之间若隐若现的爱情
机动战士高达W Gundam W(1995)
 

7 .9

机动战士高达W(1995)

影评(9)|收藏(40)

回复 (0) | 198 次阅读

编辑 | 删除 《阿凡达》

Copeth 发布于:

距离公映很久很久以后,今天终于看了《阿凡达》。一如所担心的一样,这是一部令人失望的作品。将近三小时的持续时间让我觉得是浪费生命。

 

的确,《阿凡达》在票房上取得了前所没有的成功。但我觉得这是众多因素碰在一起的结果。首先,卡梅罗此前成功拍摄了众多优质作品。那标榜自《铁达尼号》后凝固卡梅罗多年心血的《阿凡达》自然受到世人的触目。第二,要归功于成功而高效的电影市场推广机制。《阿凡达》在公映前做足了广告。如轰炸般的广告为《阿凡达》在全球赢得了巨大的知名度。别的国家不说,但是在我身边,平时连电影院在那都不知的小孩和妇人竟然也想看看。更不论一大堆伪影迷。第三,《阿凡达》是一部承先启后的里程碑式的作品。3D技术在这部电影中得到淋漓尽致的表现。尽管3D技术早已经存在,但此前它在电影业中一直是高高在上的新科技,只有一些电影全部(多为动画片)或局部(科幻动作片)应用过。《阿凡达》以3D主打真人拍摄可以说是革命性的,更可以说是《阿凡达》让3D技术走向民间。

 

单从电影本身来说,剧情过于简单,千篇一律,了无新意。可以说电影沦落到卖弄技术的地步。拿《铁达尼号》与它对比,从演员表现上看,萨姆更本不是李安纳度的对手。创造出来的虚幻的纳威人简直就是黑人的蓝色载体。甚至神态动作都像。

 

在奥斯卡颁奖典礼上《阿凡达》败给《拆弹部队》是有根有据的。它是成功的技术革命性的商业片,但绝不是一部好电影。

阿凡达 Avatar(2009)
 

8 .8 / 6 .7

阿凡达(2009)

影评(21692)|收藏(21952)

回复 (0) | 134 次阅读

编辑 | 删除 Lola Forner (Maria Delores Forner)

Copeth 发布于:
劳拉·福纳 Lola Forner

8 .6

劳拉·福纳

影评(7)

收藏(58)

Lola Forner 是成龙两部电影(《快餐车》,《龙兄虎弟》)中的女主角。在我这个中国人眼里,Lola是第一个令我觉得绝色的白人女孩(尽管现在她已经50岁)。近乎完美精致的面孔令她19岁时候成为1979年西班牙小姐冠军。即使放眼今天欧美所有女演员,依然很难找到一个像她这样美丽和充满气质的女孩。遗憾的是,Lola可能由于地域的原因,她所参与的电影作品并不多。在我看来,我认为她是在二十世纪可以和奥黛丽赫本媲美的女演员。

 

 

回复 (11) | 10338 次阅读
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编辑 | 删除 Vengeance

Copeth 发布于:
This jacket belongs to you. 

复仇 Vengeance(2009)

7 .5 / 7 .4

复仇(2009)

影评(630)

收藏(869)

回复 (0) | 103 次阅读
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编辑 | 删除 对电影《模范贱兄弟》的一句话影评

Copeth 发布于:
又是一套标准的美式喜剧片。和同类型电影相比没什么突破。
模范贱兄弟 Role Models(2008)

6 .6 / 6 .5

模范贱兄弟(2008)

影评(87)

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回复 (0) | 93 次阅读
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编辑 | 删除 对天歌

Copeth 发布于:
惺惺相惜相见
手足执手相勉
道义两字对地对天
高歌举杯交错
壮志写我诺言
讲交生死都不变迁
现在春花开遍
日后秋风不免
旧日故事世代上演
恋恋不舍不弃
与你勾手滋味
一生相依不改变
有灭有生 世事有续有延
没有当天没有今天
笑问何时何地再遇从前人面
你是否会知当年

  不知有几多朋友看过杜琪峰的《黑社会》。可能很少,但毫无疑问,这是一部非常出色的电影。上面是电影的片尾曲。歌词很有意思。但一定要广东人才能听出里面的神髓。非常希望粤语地区拍多点类似的优秀作品!
黑社会 Election(2005)
 

7 .7 / 9 .0

黑社会(2005)

影评(337)|收藏(1855)

回复 (4) | 415 次阅读
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编辑 | 删除 在世界的中心呼唤爱

Copeth 发布于:
老土的日本爱情电影,但对我确实是很受用。亚纪的钢琴声让我很touched!爱情是很美丽的!哪怕是悲伤的结局~
在世界中心呼唤爱 Crying Out Love, in the Center of the World(2004)

7 .0 / 10 .0

在世界中心呼唤爱(2004)

影评(397)

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回复 (2) | 420 次阅读
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