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.
3.暗线被主线完全掩盖，读书与打球以及追求梦想这个部分要么高明地铺陈，要么压根别提。
虽然歌是抄的，但是最后一场比赛实在是太燃了，这还是喜羊羊吗？
今年最最最最最燃的电影，代入感太强了，每个打篮球的人都绝对会喜欢的！！！！！！！
吐个槽，就是灰太狼你这孤狼最后也加入了羊羊们了，真是打不过就加入啊😂😂😂
2022057《喜洋洋与灰太狼之筐出未来》
徐玄振的演技真的好牛好牛好牛！！我给满分👍她演得很真，特别能代入她的感情，可以给她颁个奖吗😂
还可以，故事完整，虽然说是套公式，也完成的不错，各种融梗致敬，也模仿了同题材的电影，娱乐可以，内容高度不够，虽然主要对象是小孩，但感觉有想要去做全年龄段的作品，那这样还不够，相比之下度的把握很好，缺点就是没有新东西
喜羊羊灰太狼玩篮球，这是让一些人直接代入自己喜欢的球星了，还怎么打低分？
讲述的是作为律师、母亲、女儿，想拥有完美人生而努力的秀珍患上痴呆症慢慢丧失记忆之后和父亲仁宇之间的特别的相伴故事。
旧瓶装新酒，一个很老套的故事+现代的想法。故事很简单，但灰太狼和喜羊羊们并肩作战确实让我感觉青春就这么结束了。片子的目标受众不仅仅是给小朋友看的，同时还是给大人们展现的。
还可以，故事完整，虽然说是套公式，也完成的不错，各种融梗致敬，也模仿了同题材的电影，娱乐可以，内容高度不够，虽然主要对象是小孩，但感觉有想要去做全年龄段的作品，那这样还不够，相比之下度的把握很好，缺点就是没有新东西
和我小时候看的喜洋洋和灰太狼完全不一样了诶，画风和故事感觉都不一样了。2022春节档只有这个电影没去电影院看了。是个看了开头就能大概猜到的故事，但春节档应该还是适合小孩子去看看的。
题材不是我熟悉的，前作也没看过，故我的评分对这部电影来说不太公平。整体看来还是比较子供向的，篮球技巧特效化也蛮有趣，但是里面的大道理很多且安插得刻意，剧情便也稍显僵硬，运动题材的作品没能让观众“同呼吸”是很可怕的。不过有些笑点还是能戳到的，后面懒灰沸那段自嗨笑不活了！
剧本太弱了，全靠最后的比赛撑着，对于明知结局的剧情没有创新。情怀大于故事。
是一部好电影 但似乎跟喜洋洋和灰太狼没什么关系
/chy/女朋友喜欢看就行，她来写吧：看个乐呵 得劲
最后那句“喜羊羊，我们认识多久了？”“五千多集了吧。”我一下子就要哭了，情怀啊。
可以说有震撼到，有几幕真的是太让人触动了。是到目前为止，今年最喜欢的电影。
看着一个曾经那么鲜活的人逐渐退化成婴儿行为心里真的很难受
很不错的动画电影，比我想象中的好看，而且热血的感觉对孩子是非常正向的影响。顺便科普了篮球知识。
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