恶人谷

icefire wrote:不知道饥饿者游戏算不算夏季电影。。。没看过的我推荐，小演员们1个2个都演的很好。。。而且关键是里面漂亮的人好多

simonsun wrote:

icefire wrote:不知道饥饿者游戏算不算夏季电影。。。没看过的我推荐，小演员们1个2个都演的很好。。。而且关键是里面漂亮的人好多

That was so spring...

simonsun wrote:Jun快来围观你偶像！

http://www.imdb.com/video/imdb/vi2925503001/

Elysees wrote:Bourne里面这位帅哥是MI4里面那个吗？

Jun wrote:今天休息，去看了一部小成本独立影片 Safety Not Guaranteed。很幽默，很可爱！推荐一下。西雅图附近的景色很美。

Tangled Webs
“The Amazing Spider-Man” and “Take This Waltz.”
by Anthony Lane

When someone reboots a film franchise, as the makers of “The Amazing Spider-Man” have done, what are we meant to think of the original boot? The first “Spider-Man” came out in 2002, followed by its obligatory sequels in 2004 and 2007. If you are a twenty-year-old male of unvarnished social aptitude, those movies will seem like much-loved classics that have eaten up half your lifetime. They beg to be interpreted anew, just as Shakespeare’s history plays should be freshly staged by every generation. For those of us who are lavishly cobwebbed with time, however, the notion of yet another Spider-Man saga, this soon, does seem hasty, and I wish that the good people—or, at any rate, the patent lawyers—at Marvel Comics could at least have taken the opportunity to elide the intensely annoying hyphen in the title. Or does merely suggesting such a change make me a total ass-hole?

Our hero, Peter Parker, is played by Andrew Garfield—Tobey Maguire, the previous incumbent, having reached the unthinkable age of thirty-seven. Garfield was excellent as the hapless Eduardo Saverin in “The Social Network,” and he still bears the mournful traces of a smart kid who had to agree to an out-of-court settlement. If anything, he is rather too mournful. I know that years of sappy cinema have left me lachrymose-intolerant, but I really couldn’t understand why Garfield’s Bambi eyes kept glinting with a mist of tears. Peter lives in Queens with his Uncle Ben (Martin Sheen) and Aunt May (Sally Field). His closest friend is a skateboard, which I guess is a step up from Mark Zuckerberg. As befits so many superheroes-in-waiting, Peter is bullied, and, if we never entirely shake off the sense that we are witnessing a complex, two-hundred-million-dollar revenge of the nerd, that also is a defining strain of the genre. At school, to his baffled delight, Peter gets to know Gwen Stacy (Emma Stone)—a classmate, allegedly seventeen years old, although for a while I was under the distinct impression that, despite her thigh-high socks, she was actually a teacher. Here, once more, is a calculated nod to the daydreams of a junior audience. Stone is twenty-three, a wise veteran of “Easy A” and “The Help,” but as Gwen she has to suffer a faintly demeaning reversion to virginal youth .

And so to the pudding of the plot. Peter makes contact with a one-armed colleague of his father’s, Curt Connors (Rhys Ifans), whose status as a brilliant scientist is amply demonstrated by his white lab coat. “Wonderful things are coming, wonderful things!” he cries, like someone in a wonky hat who has just opened a chocolate factory. Dr. Connors wants to cure all ills, including his own disfigurement, by melding one species with another, and I had hoped that Ifans, a very funny Welshman, would use the same technique to splice his own personality onto the part, but the film’s director, Marc Webb, does not permit such levity in his fiend. Accidentally, with the aid of a magic serum, Dr. Connors renders himself part lizard, although the creepiest shot in the film is not of the beastly result—whose disappointingly blunt, unlizardish head resembles that of Ben Grimm, in “The Fantastic Four”—but of the simple shadow that he casts, like an approaching hunchback, in the tunnel of a New York sewer. And the best line comes as Peter warns a police captain (Denis Leary) of who, or what, is coming: “He has transformed himself into a giant lizard!” Leary pauses, with perfect timing and a face of stone, then replies, “Do I look like the mayor of Tokyo?”

We need more zingers like that. Instead, “The Amazing Spider-Man” adds its pennyworth to the scrawny ethical debate with which films of this kind like to pimp their own significance. Martin Sheen—who else?—gets to deliver the big speech about the responsibilities of the highly gifted. Meanwhile, for the benefit of the lowly brained , a company receptionist sees Peter looking for a visitor’s badge and asks, “Are you having trouble finding yourself?” It’s O.K., we get it. There remains, nonetheless, a conundrum that the film both provokes and dodges: by what fickle criterion do some men, when infused with genes from elsewhere in the animal kingdom, become pleasingly enhanced humans, while others turn into hideous mashups, with awkward consequences for their sex lives? Why does Peter Parker grow into a paragon of fortitude, clad in upmarket cycling gear, while Dr. Connors, or Jeff Goldblum’s fast-talking goof in “The Fly,” submits to dermatological outrages that no amount of cleanser mousse can soothe? If Webb had had the guts to pursue the truly inventive, and the biologically accurate, Peter would not have surprised Gwen at her bedroom window or shared a dreamy kiss. He would have crawled out of her drain and been beaten to death with a mop .

The climax occurs on the pointed peak of a high-rise, as if all that any film required, in the bid to top its predecessors, was to scrape the edge of the sky. But that site, like the summit of Everest, is surely crowded to the full by creatures from other films—everything from King Kong to Susan Sarandon’s majestic dragon, in “Enchanted,” who was far more sinuous, witty, and purple than anything Dr. Connors could devise. Spider-Man himself, wounded in the leg, hitches a ride on a succession of huge cranes, in a scene that even the most muscular of Soviet realists would have considered risible: Heroic crane operators of the world, unite! Bring down the slavering reptile of capitalism! By now, “The Amazing Spider-Man” is running out of nimbleness and fun, and the promise contained in its title seems ever more tendentious. There are joyous moments when we share Peter’s point of aerial view, through a sort of private Spidey-Cam, as he loops and soars through town, and there is one sequence, early on, that clangs with possibility, as Peter—endowed with powers that he can’t yet control—manages to trash a subway car, along with most of its inhabitants. Sadly, the implications of that spree are toyed with and cast aside. What a shame; the idea that to be rendered superhuman is neither some sombre moral privilege nor a queasy Faustian temptation but a prelude to ungovernable slapstick might be just what the genre needs. It would definitely tickle the new batch of ten-year-olds receiving their first hit of arachnomania. So, what will they have learned from this instructive film? One thing: if you want to grab a girl, as Peter does, you eject a strand of sticky stuff onto her from behind, then pull. Not true, kids. Don’t try it at home .

simonsun wrote:看完Magic Mike回来报告：

1. 基本满场。大部分是girls' night out，夹杂着被老婆/女友拖来的直男。俺一个人很无趣地穿堂而过坐到第一排。
2. 除了stripping之外的戏都挺无聊的。
3. 直男stripper那么aggressive！（相比较而言。）俺深深地收到了惊吓！