《愛麗絲的失蹤》 個人觀影隨筆，歡迎理性討論，不喜勿噴 電影的反轉(zhuǎn)實在是太勁爆了，就像在看一部反轉(zhuǎn)神劇，每次反轉(zhuǎn)都是一個小喘氣，而且電影應(yīng)該是一個成本不高的小制作，因為反反復復的就只有兩個場景三個人，連愛麗絲的爸爸和警察都沒有出現(xiàn)，有時候電影的質(zhì)量跟制作不一定成正比，小成本也可以拍出大電影，大制作也會出爛片，總體來說，這是一部合格的犯罪驚悚片，演員的演技和故事的邏輯性都很好，除了小胡子綁匪跟小鮮肉綁匪激吻的那一刻，我有點凌亂，其他還好，還好，囧！

電影里的人物關(guān)系有同性戀，異性戀和雙性戀，我看短評有人說這種概率比彗星撞地球的概率還小，我笑了，hhhhhh，在腐國，這樣的概率可能真的不算小，雖然我很震驚兩位主角突如其來的激吻，可是一想到前幾年英國的那些新聞，就回過神來，需要接受這里的劇情反轉(zhuǎn)不難，只要看看相關(guān)新聞，就懂了，開個玩笑

另外我想說，電影的評分雖然不高，但是整個電影的可看性還是不錯的，我分析，主要原因除了狗血反轉(zhuǎn)之外，可能是電影所傳達的思想不夠深刻，只是一個戲劇化的犯罪故事，對于人性的復雜性并沒有特別深入的表現(xiàn)，最后女主坐在車上給了兩次鏡頭，先是回顧了一下綁架的場景和燒掉的作案汽車，接著再次回到了女主的身上，我猜測導演并不滿意這個結(jié)局，所以趕緊開車走人(狗頭護體)，So這是講了一個什么故事呢？告訴我們，不要亂搞男男，男女關(guān)系嗎？

如果硬要給這部電影加上一些思考，我想猜疑鏈是最好的解釋，當超過兩個人開始做一件壞事的時候，這個猜疑鏈就一定存在，信任是人和人相處共事的基礎(chǔ)，即使這種信任是建立在友情親情或是愛情之上，也必然為先，我們來看，小胡子綁匪一開始挖的洞原來是用來埋葬小鮮肉的，而小鮮肉綁匪又瞞著小胡子他跟人質(zhì)的關(guān)系，人質(zhì)在知道真相后仍然拿槍想干掉男友，在反殺失敗后還挑撥他倆的關(guān)系，反正就是你不信任我，我不信任你，相愛相殺，亂成了一鍋粥.

PS.小胡子綁匪原來就是《Still Life》里的社區(qū)送葬者埃迪·馬森，只能說他戲路太寬了，什么角色都能演得入木三分(你看他倆接吻的時候多投入)，演什么像什么，很顛覆，這種顛覆就像看西恩潘的表演，你能想象《神秘河》里的社會人就是《我是山姆》里的低智商父親嗎？他們做到了，期待更多好作品~

吻得太逼真

看到這，有點凌亂

這部電影出場人物一共3個，場景也沒幾個，人物的心理活動也多，其實很適合演話劇。 一次簡單的綁架充分展示了人性的復雜。心狠手辣的綁架頭子臨死前用盡最后的氣力幫助自己剛才還想殺死的女子逃走。綁架小弟為了錢伙同別人綁架了自己的女友，但是心里又放不下她，舍不得殺她。被綁架的富家女，2次試圖迷惑綁架他的男友以求逃跑均告失敗，最后兩個綁架犯都死了，她一開始為自己的遭遇和男友的死而哭泣，后來想到錢到她手里，又轉(zhuǎn)悲為喜。從被綁架的時候就看的出來，富家女是個既堅強又精明的人。 ps:演綁架小弟Danny的顏值好，但是身材一般，還是不露的好。

The first and third features from English filmmaker J Blakeson, who most certainly has a partiality for dark and queer characters. TDoAC is a three-person hostage thriller shot on a shoestring, in the mode of William Wyler’s THE COLLECTOR (1965), only more ascetic and messier.

The titular Alice Creed (Arterton) is a rich daddy’s girl, who is kidnapped by two ex-convicts Danny (Compston) and Vic (Marsan), things would go peachy for everyone had it not been the fact that Danny is Alice’s ex-boyfriend, and once this cardinal information is divulged, the whole shebang veers to murkier waters as viewers cannot ascertain who among the three would be the victor, each one seems to an unknown quantity.

The craft on show is adroit, the opening wordless sequences are neat and bracing shot and edited, they smooth the way for audience to gear up for what it is coming - a typical hostage situation set in a single, drab location, where a voluptuous Arterton has to undergo some roughhousing, being gagged, tied, undressed (the usual suspects of S&M fantasy), redressed, and later choked and slapped, but most humiliating of it all, urinating to a bedpan in front of two masked kidnappers.

Well, Blakeson does not actually go to extremes on the path to a torture porn, instead he manipulates various plot twists in a canny way that each time, when a character achieves some sort leverage, the table will be turned in a trice. Also, the fluidity of sexuality plays a major part in the double-cross/counter-double-cross gamesmanship, can sweet nothings soften the gun barrel pointing at your face? Twice out of three you might not luck out.

The long and short of it, TDoAC is an absorbing debut feature mines brilliantly into its meager resource and the outstanding performances from its three players. Can a cowing Eddie Marsan transform himself into a meek lover? You must see for yourself; whereas Martin Compston portrays Danny’s bisexual oscillation with adequacy and Arterton goes for broke in her birthday suit, when all is said and done, countering to what its title alludes to, “disappearance” could be a blessing in disguise.

However, in I CARE A LOT, a Rosamund Pike’s feminist vehicle, Blakeson’s irony and sarcasm goes pitch black. Pike plays a ruthless con woman Marla Grayson, who operates a company legally acquiring the guardianship of elderly people through a duplicitous scheme (often assisted by unscrupulous doctors and inane judges), so their assets are completely at her disposal (though on the face of it, the juridical procedures feel rather facile).

Her gravy train hits a snag when she milks a wrong cow, Jennifer Peterson (a nonplussed then fuming Wiest is always a corker), the apparently perfect candidate, affluent, childless, all alone in the world, actually has a formable friend at court, the Russian mafia boss Roman Lunyov (Dinklage). So when the gloves are off, it is Marla and her girlfriend Fran (González) versus the murderous gangsters, do they have a chance? Or, shall we care?

The answer is yes and no, the ineptitude of Roman’s riffraff is astonishingly shocking (what can you say? they botch not one but two cases of snuffing a defenseless, unconscious woman!), and Marla is depicted as an amoral overachiever, a stony-faced ballbuster, a totally unregenerate bitch (not a scintilla of remorse can be traced on her face), ergo, that really puts audience off from empathizing with her, save for the pungent disgust towards the American Dream she is spoiling for.

If its paint-by-number predator/prey dichotomy sounds trite, its David and Goliath tale seems incredulous and oversimplified, what saves I CARE A LOT from heading to the abyss is Pike. Tricked out in fetching attire and unflappable towards any threats shot at her from the other sex, her Marla is “Amazing Amy” with a vengeance and irrefragably batting for the other team (her affection for Fran is genuine, a viewer might second-guess Marla’s unspecified backstory, how her reprehensible carapace could be the outgrowth of the malefic influence inflicted by the world at large, and Fran’s female warmth becomes her only safe haven). Even in the absence of cordial redeeming feats, it is still riveting to watch Pike’s Marla in action, her fearlessness is both scary and inspiring, you hate her guts but also crave for her guts (or maybe just a part of) ambivalence is here to stay.

At last, Blakeson plumps for poetic justice to put paid to Marla’s unstoppable ascension (can it be construed as a veiled pro-gun testimony? In the United States, the only way for a poor, miserable guy to seek justice from a powerful woman is to use anti-personnel weaponry, how reassuring!), but it feels bathetic, unlike Martin Scorsese’s THE WOLF OF WALL STREET (2013), Blakeson doesn’t know how to dream up a proper coda for a repulsive character, he settles for the safest exit strategy, since everything in I CARE A LOT is Manichaean.

Elsewhere, a debonair Messina lights up the screen as an unethical, soigné lawyer who tries and fails to railroad Marla into dancing to his tunes; Dinklage is always an atypical screen magnet, here his surly temperament is a good match with Pike’s posh sharpness. From TDoAC to I CARE A LOT, the production design goes from drab to hip, Marc Canham’s hypnotic electronic buzz swells and intensifies, but Blakeson’s script and imagination seems to be impeded by a bigger scale and more handsome budget, is it the downside of the money monster?

referential entries: William Wyler’s THE COLLECTOR (1965, 8.0/10); Martin Scorsese’s THE WOLF OF WALL STREET (2013, 8.0/10).

Title: The Disappearance of Alice Creed

Year: 2009

Country: UK

Language: English

Genre: Crime, Thriller

Director/Screenwriter: J Blakeson

Music: Marc Canham

Cinematography: Philipp Blaubach

Editing: Mark Eckersley

Cast:

Gemma Arterton

Martin Compston

Eddie Marsan

Rating: 6.9/10

Title: I Care a Lot

Year: 2020

Country: USA, UK

Language: English

Genre: Comedy, Crime, Thriller

Director/Screenwriter: J Blakeson

Music: Marc Canham

Cinematography: Doug Emmett

Editing: Mark Eckersley

Cast:

Rosamund Pike

Peter Dinklage

Eiza González

Dianne Wiest

Chris Messina

Isiah Whitlock Jr.

Damian Young

Nicholas Logan

Alicia Witt

Macon Blair

Celeste Oliva

Rating: 6.4/10