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.
还可以吧，画质、配音一般，但是剧情还不错，也不长。
网飞的动画（外包）新作，这种把编剧和制作完全拆分开来的模式不是不行，但总会觉得这样让故事受到了影响，甚至缺乏灵魂，作为单部电影的话，本片自然不能像剧集一样充实设定，但好歹也不像《恶魔城》那样磨叽。
感觉很一般啊，而且画风也不是很喜欢，还没真人版好看。
画的不错，但是没看过原剧和原著，感觉上就是个无头无尾的故事，不怎么样
简单直接的暴力血浆电影，夫妻两从敌对经过一系列血浆事件后和好如初。话说喷子的威力确实大啊
小光头杰洛特，摔不死的维瑟米尔，美漫的老毛病，节奏又快又跳
传奇的史诗开篇，现有的影视作品应该只是原著世界观的冰山一角，游戏已经是非常不错的全面展示。扛着双银剑的猎魔人是术士炼金实验的产物，物种间充满争夺与仇恨。杰洛特小时候竟然是个超级小光头
一般般，比起波兰蠢驴的水准，这动画差的不是一星半点，看睡着了。
我就是对结局不满意啊
猎魔人浓度很低的一作，猎魔人正面PK术士？近乎魔改了啦，但动作戏真的很棒！
作为喜剧是合格的，毕竟已经好久没看到让人笑的出来的喜剧电影了。就是太血腥和屎屁尿，所以不会再刷了。
特别精彩了啊 begging和血腥程度真的非常真实 太疼了 最后的结尾讽刺了下好莱坞的拍摄手法 最后 演员是真的好 ps 老爹真是太炫酷了 哈哈大笑
画面好美，维瑟米尔好帅（发型），最后的小杰洛特居然还只是个小光头（手动狗头）。动画版电影美看够希望Netflix可以出个保持这个制作水平的动画版剧集啊
看真人剧集版的时候觉得不太行，好多人在评论里推荐这个，于是来看了，感觉还不如剧集呢。。。最起码剧集想要表达原著的精神和故事（虽然表达能力有限），而这是个啥。。而且美国作画和配音不是很习惯，动画片还是要日本呐
2，为刀俎，为鱼肉，一念地狱，一念另一个地狱。
故事一般，动作场面很棒，男主实在太美了多加一星
维瑟米尔战力简直崩坏，十个艾瑞汀可能都不够他打。猎魔人只会简单法术而不是近战法师，导演编剧都是门外汉。
说实话 后面的节奏有点快而且略突兀 在我心中只有四颗星 但是这是猎魔人，是我这十年来玩过的最有人文主义色彩的游戏 而且影片整体架构非常好制作水平亦是一流 给满分
哈哈哈哈哈哈哈哈哈 我真的要被这时不时的两极反转笑死了
经历过青草试炼的猎魔人都算是在地狱走过一遭了，这也解释了猎魔人为啥都生性放荡不羁爱自由。
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