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.
6.1/10电影完成度还是可以的，节奏也很紧凑，故事比较饱满，但太多细节经不起推敲，逻辑不通，很多不符合常理的地方，尤其是最后女主当着警察面开枪那里，简直拉垮。夸一夸女主演技吧，还是值得加一星的。
暴风雪山庄模式，合格的惊悚电影，剧情有反转也还算能自圆其说，女主基本上是一己之力对抗劫匪拯救小女孩，整个看下来也是很机智神勇了，虽然过程中屡败屡战，边调整战术边伺机行动，这种主动出击反杀还是比较过瘾的，起码观众看着畅快点。
有点你丫闭嘴的感觉，欢快的两小时、剧情吸引人、节奏快、动作不浮夸。有点意思
黑的地方是真累眼睛啊，根本看不清……这个制作太成问题了，观感也糟糕，逻辑上想一出是一出
女主又是个狠绝色，小成本，够暴力。没什么大bug，下饭片
故事普普通通，但拍的不错，本来比较平的故事拍出了一定的转折跌宕，人物行为逻辑也基本合理，整体完成度可以，这剧本上限就不高，也就拍成这意思了。再有，好莱坞电影中有亚裔角色的不计其数，但难得有这么一部用亚洲面孔做主角的。
暴风雪山庄式的故事，全员智商在线，剧情张力也不错，但故事还是简单了点
杀手不好当，杀手的搭档也难做。看这电影有点浪费时间，不过毕竟看了部电影，所以也不算纯浪费。如此而已。
还凑合，氛围营造得不错。就是俩贼好像是在演喜剧，警察是智障。女主的背景交代篇幅有点过多。黑人陆战队好像是24小时里的总统吧
警察必定便当定律，有点麻了。开放式悬念集大成者，设计密室推理并不难，设计单纯的血浆追杀片也不难，难的就是把这种观众全知视角、部分角色有限视角的悬念尽量延长，譬如《悬崖之上》
被钉在墙上，血顺着手腕留下来，好带感。警察送人头定律。他们玩的Bullshit扑克我跟室友也玩过，说谎就要面不改色心不跳。
2022.03.02一个人在蓝湾看。车内身亡→Larse→Ash→Sandy，波浪不大，但却有推进。PS. 女主第一眼有5分像巩俐。3星。
小说改编反转，低成本惊悚片，亚裔女主《求救信号》，还可以。
2022.03.02一个人在蓝湾看。车内身亡→Larse→Ash→Sandy，波浪不大，但却有推进。PS. 女主第一眼有5分像巩俐。3星。
演员很在线，故事节奏、构图画面和音乐都调控的很不错，后半部分高潮迭起，善最后战胜恶，虽剧本是老套路，但效果已经很不错了
女主角的血性传达得到位，在惊悚元素上至少不愚蠢，有精彩的章节
剧情有经过精心设计，女主要救Jay是补偿自己对母亲的不可抵达。拔钉子前再吸食drugs很多此一举，有美化嫌疑。
Thriller is not an easy one. At least this movie caught my attention. It was just too good to white guys by offering them too many excuses, and too sticking to look politically correct.
类似这种带悬疑色彩的困兽犹斗电影还是很值得一看的，况且是打拐题材，此时放出资源，也算是应景了。
叛逆女遇到绑架犯，剧情一般，没想到会有6.5的分数，imbd6.1
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