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.
逗比男主，在线露腚。演员阵容强大，可惜剧情太差，让人失望的冒险故事。
最伟大的探险，最珍贵的宝藏，都比不上桑德拉在扒拉查宁屁股上的水蛭，皮特还是那么帅，惊喜不断的小成本，不俗套
还行吧，蛮多搞笑的小点子，女主也很有喜剧天赋，就是后半段拉了，很无聊。整体看下来内容也很少。
有桑德拉主演的电影至少不会太难看，何况这部两个人的火花属实是奏效了。（还是我喜欢这种人迹罕见绝境的探险调调，居然想到了木乃伊）
布拉德皮特客串的那几分钟堪称全片唯一的看点。N
5/10 老掉牙的好莱坞套路剧作和一些性别笑话，即使以合家欢电影的标准来看也很一般。
刚想说只要有布拉德皮特和钱宁塔图就可以打五星，布拉德皮特就被爆头，真.打酱油君。然后就是美国饶雪漫和她中看不中用书模的丛林冒险了。全场就很好笑，满足中年妇女的观影需求
都是喜欢的演员，所以宽容度比较高。影片制作还是有些粗糙的，笑点也有，故事也算是一个女性角度比较完整的故事。
这个女主演过不少喜剧，讲真的真不喜欢这个婊砸
omg笑死，应该去电影院支持一下的。革命精神in latin先苦后甜。
布拉德皮特那段客串部分特别逗哈哈，全片搞笑担当了！其他几位主演，不知道为啥都莫名有点憨……
不必太苛刻，是个娱乐性和观赏性都及格的rom-com…现在也很少有这种电影了。桑姐和钱老板之间cp感还可以。钱老板回春了之后演傻白甜大花瓶真的很合适💗
挺流畅的爆米花电影，查宁还是老了啊。风景不错，很美国的冒险喜剧片。
情节简单得近乎儿童片。开头说到火山，就知道最后肯定在火山爆发时逃出来；反派身边的喽啰肯定会一个一个挂掉；当地导游肯定会反水；等等。透明得像杯白开水。
纯纯的爆米花片，混的不咋样的女作家和小说封面男模暧昧的一次宣传新书中碰到大富豪绑架，大富豪发现女作家的书里解谜部分意外和自己寻找的一个小岛宝藏意外契合，于是在寻宝过程中发生的各种搞笑桥段。皮特助演了一段，真的是神级演员，笑果太棒了，直接和其他人都拉出了差距
中规中矩啦，但是比神秘海域好看。另外：谁能想到此女主也是《地心引力》的女主啊，就生看着眼熟，完全想不到
昏昏欲睡 网络热点大集合，廉价的质感，影棚拍摄明显
completely clichéd adventure plot, mediated by actually funny repartees.
好无聊好无聊，本来以为至少冒险夺宝会有点意思，结果并没有，唯一出彩的地方是布拉德皮特出场的那十分钟，整个就是一个大失望。（花了大概十次才看完这么一部…
姗姐在重复她的傻大妞人设，钱宁在重复他的性感舞男人设，蛋妞已经老到可以在好莱坞爆米花片里演英式反派了，下饭片儿一枚，怎样让钱宁露臀可能算唯一编剧花了心思的地方。我喜欢双人舞那段，钱宁演戏很一般，但他任何时候跳起舞来我都还是爱看的，他身体的律动感确实很自然舒服。皮特的出现毫无惊喜，还不如中途听到了浴血黑帮主题曲来得开心。
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