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.
Humm...just so so... 不是很能get到
动画本来是看着打发时间的，因为初期剧情只觉得是工具人无脑攻和傲娇美女受，要不是高桥广树的攻音反差我肯定不会喜欢这么女性化的男性角色。
真是热情如火的西班牙，甜蜜的爱情，痛苦并快乐着。
太TM好嗑，画面干净利落，年轻真好。Kite那首《Dance Again》有几分Suede的味道。
剧情问题最大的当然是线下赛开挂，但瑕不掩瑜，本片对普通观众值4星，捧场用心制作；而对吃鸡玩家，当然5星
雖然明知道對方不會介意
既然要上映番组就不能好好做吗？画面和连贯性甚至比不上三年前的tv。
不玩游戏，不知道真人代入游戏场面是否真实（很多点评人也不玩，所以不太确定），反正自己看起来很过瘾，比玩游戏过瘾，因为游戏画面不仅欠真实还有点眩晕。虽说游戏场面不像好莱坞的那么炫酷，但游戏感就是很强。当然场景涉及相对单调了点。游戏外的画面也很真实，正如某影评说的，有套路但不落俗套，制作成本不算高，有这效果挺可以的。7.5/10分
爱情本应如此简单又温暖。除此之外的都不是爱情。
中规中矩，上8分有点夸张，不能因为是网大就自动降低要求吧，不然给那么多媒体宣传版面给这片子干嘛呢？欲戴王冠必承其重啊。男主的几个队友完全没有塑造，沦为工具人，团战团战，重要的是团好吗？尤其是男主跟那个白富美队友莫名其妙就亲上嘴了我真的是。。。这感情是咋发展的？敢不敢交代一下？大胸翘臀长腿还在游戏里飒得不行、现实中对loser男主唯命是从默默等你，这不“男性凝视”吗？这不是最恶臭的大飒蜜吗？最重要的是对游戏这件事没有传达出任何思辨，本质上仍是廉价的男性YY爽文，这严重限制了这类片子的主题表达天花板，看看陈思诚拍的唐探网剧第三个单元吧，你会知道差距。
andrey打着电话给出的第一个安扶、戳戳joanna脸上的痣太撩了叭🥹剧情一般般，bgm和转场都不错，电影后段的色调变化也很细节！很喜欢那段焦虑中灯光闪烁的变化，也很喜欢最后的拥抱。
爷爷真帅……话说制作人那对不考虑再出一版吗🥲真的很感兴趣就是说
看的很想哭，以后找不着对象，就找个女同形婚吧
网大的水平里还行
“我在最糟糕的时候遇到你，好幸运你会喜欢这样的我”
还可以，把那些烂俗片段删一删的话可以打个四星。网络大电影＋手游有没有搞头？有！
不管再惨，都不要期待他人来拯救自己好吗，自愈才是真正的良药
爷爷真帅……话说制作人那对不考虑再出一版吗🥲真的很感兴趣就是说
另：
不论从剧情走向、伏笔埋设，还是游戏还原度、主旨立意，都设计得非常出色，难得一见的网大好片。女主是个腿精。
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