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.
熊出没大电影拍了近十年，越来越精细，剧情也越来越和过年没有任何关系。《熊出没过年》每次电视上播我都会再看一遍，但是近两年的大电影看过没几天剧情就忘的差不多了。看来如今的国产动画兜逃不掉最终拍成科幻片的命运。
超出想象的不错，能感觉出糅合了一些电影在里面。剧情较薄弱，一个好的故事情节真的太重要了，希望下一部电影能更好吧。我倒是蛮爱这些场景的，那小朋友喜欢看这种吗，可惜我妹睡得早只看了个开头，哈哈哈。
8熊二不二
但是我的熊二太有趣了哈哈哈哈
过了春节档随机Roll到“4D放映厅”得到加持的观影爽感。
陪小孩子看的，小孩子表示疑问多多，我猜就会有些看不懂。不仅大道理看不懂，最后的治愈情节更是看不懂吧，反正我是解释了半天。。。。
漫威超级英雄之熊二分局。
“你可以永远相信熊出没”这句话并不是说它有多神，而是因为它一直都保持着一贯的水平，既没有惊喜，也不会摆烂；始终在自己的舒适圈内。
成人的视角：笑点不太密集；孩子的视角：太好玩了，打100分。ps：给导演一个建议，孩子们特别喜欢搞笑的追逐戏，看完电影后我家孩子记得的就是阿布被🌵扎到的镜头，我认为那段笑点比较密
我早在春节档之前就说了是最值票价的电影，特效给料特别足，分镜设计也不错，大场面和打斗场景都属上乘。
第一次的亲子电影耶 小朋友还看不太懂 我们三个大人全程看的津津有味
熊大熊二明显的变样了。还有光头强。已经记不太清原来它们的细节了，不过肯定有变化是真的。电影可以，能做到老少皆宜。反正我和我儿子看的都是嘻嘻哈哈 很开心。笑料也不少，老少都可以看懂。牛夫人很美，老牛很野兽。天火也很牛，不过，更牛的还是熊二的石头熊状态，厉害呀。哈哈哈哈，真英雄，永远不回头看爆炸，深得美国大片的精髓嘛。片尾方特的广告，插入的，真不能叫强行植入哟，毕竟是人家方特拍的电影，哈哈。片尾，阿布找到家人了？光头强这部没什么戏份呀。就这吧。
里面美丽的场景画面、一流的特效、对熊二这个人物的完美刻画使得电影整体而言中等偏上，也有些友情、亲情、爱情的融合～
比狙击手好看。怎么没有影评人看呢一个友邻评分都没有哈哈哈哈哈哈哈哈哈哈
陪女儿看的春节档第一部电影，阿布简直是钢铁侠+黑豹+毒液的合体，后半段看出环太平洋的既视感……动画技术已经相当成熟。
比喜羊羊好看点，总体缺乏想象力
特效不错，片子里面那两个路人男比熊大和光头强的戏份还多就离谱
《熊出没之驯龙高手》，《熊出没之蜘蛛侠英雄远征》《熊出没之环太平洋》《熊出没之哥斯拉大战金刚》。不谈剧情，特效挺好的，五星。
【C+】算是制作比较精良的动画电影，但是也没有太出彩的地方。
22贺岁动画霸屏，熊出没又出新招，有人热捧漫威电影，有人批评热潮烂剧情，鄙人对这部《重返地球》不甚喜欢，每年的温情与感动少了不少，炫技致敬过于新潮，熊二为雄前作已有，其他角色电影存在几乎没有。每年动画电影“熊出没”如期贺岁，今年反而失望透顶，希望不要过分消费这个经典IP，内容为上打磨剧情才是对观众最好的贺岁。
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