The film opens with a narrated disclaimer over footage of an opening coffin. The narrator explains that the film's climax is so terrifying that it may kill the viewer, and reassures the audience that if they die of fright while watching the film, they will receive a free burial service, and it closes on the casket which has a card inside reading "Reserved for You."[1]
Newlyweds Jenni (Peggy Webber) and Eric (John Hudson) move into Eric's palatial country home. Jenni is Eric's second wife; his first wife Marion died when she accidentally slipped and hit her head on the edge of a decorative pond on the estate. At the home they meet Eric's friends, the Reverend Snow (Russ Conway) and his wife (Toni Johnson), as well as Mickey (Alex Nicol), the developmentally disabled gardener. Eric privately mentions to the Snows that Jenni spent time in an asylum following the sudden death of both her parents, and Mrs. Snow reveals that Jenni is very wealthy.
Jenni is disturbed both by Mickey's belief that Marion's ghost wanders the estate and by Marion's self-portrait inside the house, which Jenni believes resembles her mother. When she begins to hear unexplained screaming noises and see skulls around her house, she believes that Marion is haunting her. Though Eric speculates to Jenni that Mickey, who was a childhood friend of Marion and thus dislikes Jenni, may be behind the trickery, Jenni worries that she is going insane. Eric then suggests to remove Marion's self-portrait from the home. Eric and Jenni take the painting outside and burn it. While they clean up the remains of the painting, a skull emerges from the ashes. While Jenni panics at the sight of the skull, Eric denies that the skull is there. Jenni faints and Eric withdraws the skull and hides it, revealing that he was responsible for the trickery all along in an effort to get hold of her wealth.
Believing she has finally lost her sanity, Jenni resolves to be committed. She tells Eric that the entire property will be meticulously searched for the skull as a last resort. Before Eric can retrieve it, Mickey secretly steals the skull and brings it to the Reverend, revealing Eric's plans. That night, Eric prepares to murder Jenni and stage it as a suicide. Jenni sees Marion's ghost in Mickey's greenhouse and flees back to the house. When she enters, Eric begins throttling her. The ghost then appears and chases Eric outside and about the property; it finally corners and attacks him, drowning him in the decorative pond.
After Jenni regains consciousness, the Snows arrive. Mrs. Snow comforts a hysterical Jenni and the Reverend discovers Eric's body in the pond. Some undisclosed time later, Jenni and the Snows depart from the house. Reverend Snow declares whether or not Marion's death was an accident will remain a mystery.
扎导笑而不语，还以为是延续《小丑》呢，结果还是DC宇宙的扎导风，氛围和情绪给的很足，镜头也拍的很漂亮，但一到对白戏的调度就立刻打回原形，动作戏一来更是平庸，本质上还是drama强装cinema罢了。套的这层写实侦探片的风格，是唯一招人喜欢的部分，可惜拖拖拉拉的动作戏，最后连戏剧逻辑都不顾了，真的没有必要拖拉到这么长。
还没有到那个高度。
開頭就是滿滿的套路（但是女主的激動其實也說得通）。節奏略慢。女兒的理解是讓我最感動的。瀑布變成小溪流水，如果電影只剩下一點點詩意還有什麼？
【Inferior】D
确实是渐入佳境的，但需要熬过至少半小时。
3.5 比起阳光我更加喜欢这一部 逐渐撇掉过去的一点一滴 最终突破重围 有新的开始 情节的确有拼接感 可是瑕不掩瑜 两个女性角色也演得特别好
当一个长得像米歇尔奥巴马的人告诉市民应该相信警察的时候，我就非常确定这坨仨小时的玩意就是民主党建制派嗯造奥巴马流量的反动宣传大毒草。为了把超级英雄电影带回到前小丑时代，甚至需要塑造一个有菲尼克斯面相的蝙蝠侠然后让他成为一个真的蝙蝠侠，全片与小丑对仗的内容如此之多以至于所有的体面正道反思都成了欲盖弥彰。究竟谁越界了？究竟谁在滥用暴力导演你自己心里没ACDE数吗？川壬上台能拍小丑老毕登上台就只能拍这种垃圾你们好莱坞上上下下都应该扪心自问一下!
3.5 比起阳光我更加喜欢这一部 逐渐撇掉过去的一点一滴 最终突破重围 有新的开始 情节的确有拼接感 可是瑕不掩瑜 两个女性角色也演得特别好
无功无过到除了「贾静雯演得真好啊！」之外想不出别的评论。（有病就要治？
最让我感动的两个点：妈妈了解自己的状况并一直努力让自己变好，女儿真的做到了站在妈妈的角度上去理解她。为贾静雯的演技私心多打一分
看完对中年女性的生活有点绝望。一个外贸公司的主管，因为疫情，和离婚单身带高三女儿的多重压力，心理崩溃只能去家乐福当摆货员，还不起贷款只能卖了房子，小小年纪的女儿还差点被中介骗，又被放闸泄洪冲走…人不能给自己虚妄的希望…
陈以文刘冠廷的客串让人浮想联翩他们的前史，以至于迅速意识到观影最大感受是对主角的命运毫不关心……生孩子治文艺女青年，送外卖治抑郁歌手，这种对心灵和劳动的粗暴想象，恰恰是冷酷的实用文化。可惜了钟孟宏的活儿又这么好
后疫情时代难得的准cinema大片，作为影迷对它的感恩多过挑刺。
2.用地毯铲杀市长，把凶器放在家里，把视频的密码藏在地毯下面。
贾静雯的表演真好，“瀑布声”是我们要学会告别的“执念”（或者说心里的一种魔障），但“瀑布声”不会消失，我们要学会和它面对、相处。答应我不再问你还好吗。真的棒，戳住人了。
去年金马奖的最佳影片，钟孟宏的摄影构图依旧保持一流水准，尤其是阳光照射下的都市街景镜头，让人看的很舒服。之前导演在《阳光普照》里探讨父子关系，这次在《瀑布》里讲述疫情背景下，精神崩溃的母亲和叛逆女儿之前关系的调和修复，从前期室内蓝色阴暗的抑郁环境到后期户外阳光普照的室外场景的转变，也对应着母女二人心态的变化。在遭遇家庭系列的变故，彼此相互扶持依靠，重新面对生活。虽说在深度立意上不如之前《阳光普照》那么深刻，但整体故事很细腻，贴近生活，令人暖心治愈。
隔离，隔绝掉亲情，生路，可能是精神崩溃下的瀑布幻听，也可能是阳台外真实的遮天蔽日的塑料布。母女间陌生又熟悉，岌岌可危的关系让人担惊受怕。“爸爸只是一个提供精子的男人”，他正是我“每个人都有的，大小不同的，难堪的过去。”
演员表现相当好，有许多细节拍的不错，而且动人。可惜整体剧情有些矫揉造作的部分，影响观影情绪。
我看到一半就知道导演取材生活。
前半段配乐太满，且重心有点太偏向疫情的当下生活，填塞了太多东西进去，后半段反而更从容更落到实处一点。瀑布的声音最终取代了机器的声音，我理解为瀑布的声音也是内心汹涌的情绪，其实不要太过惧怕它。电视新闻讲救人的一段在我这里是败笔，和前半段的疫情呈现一样，皆是作者藏不住的野心，但要的东西太多且来回拉扯，全篇也太多语焉不详，比较失望，但丰富程度倒是强于《阳光普照》，更有生命力一点。
Copyright © 2015-2023 All Rights Reserved
