Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’
The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
不温不火，浪费我的期待！杰森郭说得对：R级可能更美妙！
凯文和伍德都是最爱，第三视角跟拍的群战真爽！
挺欢乐，蠢萌感十足，不过黑小伙误会成杀手这桥段有些似曾相识。伍迪-哈里森有股子冷幽默风，不苟言笑能获得喜剧效果。黑人小伙还是那么夸张，各种状态都出格，大惊小怪，不过似乎好莱坞都是这套。多少也是米国的开心麻花，看个嗨劲就行了。
2022的365部电影No. 270
聒噪的凯文哈特全程开腔。伍迪哈里森能一路容忍真是真爱。总体还不错，有好几段沉浸戏看凯文哈特装大佬审犯人还挺有反差萌爆笑效果的
拳击馆的part好精彩
所有的内容都有浓浓的似曾相识感，用阴差阳错的巧合来构造喜剧框架，凯文哈特的话痨是最大的看点了吧，偶尔的笑点也能博人一笑，作为喜剧片还是勉强够格了
很久没有看到这么简单粗暴的喜剧片了。还有就是感觉，或许照之前计划的斯坦森或许两人更有化学反应？
不温不火，浪费我的期待！杰森郭说得对：R级可能更美妙！
非常套路非常刻意，可以完全不动脑。
中规中矩的爆米花喜剧，杀手爱情篇幅再多一点就好了
啧，我真是很吃这一套，
太搞了！哈哈哈哈哈！这才是我喜欢的伍迪！nf自带中文好评
看到伍迪哈里森出场就知道这片好笑😂拳馆那段镜头很好，武器也比较有创意；Penny客串很惊喜，她确实适合这种粗犷姐妹角色；The man from Tokyo 是就算高糊画质惊鸿一瞥都掩盖不了的帅，看演员发现居然是山P，难怪，倒回去再舔一下屏！
好像百想获奖了 康康//比起剧本更喜欢演员 太喜欢演员了 主角也配角也 所以四星
波多黎各那块我真的笑死，伍迪叔的反差感也挺可爱的
看这个电影就像是在普通公立学校四五十人的大班最后一两排上自习课，stupid but fun
爆米花电影。其实挺好看啊起码不会那么无聊还算挺连贯的分不该这么低
看得有点子心动，不过还是《我的解放日志》里面“具社长”的角色更适合孙锡久。
有笑点，但整体挺一般。杀手的角色很明显能看出来是照着杰森·斯坦森写的，也确实改成R级的话会更搞笑，略微可惜。山下智久帅不过三秒，健身房的长镜头部分想法很好，调度有点差。勉强及格。
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