嫩模圈4.4

和《嫩模圈》形成一组对照在感官记忆丧失的漫长挣扎中留存稍纵即逝的灵感美和艺术不过是行将消退的生命中的一节浮木现实的控诉再也难以激起死水微澜女性永远在以自我的牺牲为某种更理想的世界做注脚

社会似一把伶俐的刀锋刻画在个体身上现代你我他个别戏谑幽默之处忍俊不禁又深感沉痛呈现出一部有欢笑有趣可看的现实题材佳作

一语道尽名利场中女性如何攀爬嫩模圈如何用尽伎俩嫩模圈如何利用他人各怀心事达到自己之目的此中美女多多几多改朝换代对话写得相当精彩掩饰了导演相较平平的构架手法这倒不是说导演功力不行而是更加啧赞其中道出的人生秘密以及对于好莱坞或者说戏剧圈内弊端的揭示镜头语言上乘又是黑白片

In terms of cast, it has to be said that Gary Oldman looks nothing like Herman Mankiewicz. The olde visuals seem to be the main reason to watch this film, and its this smokey, shadowy, cigarette-burnt, ’40s aesthetic that’s the film’s only positive. The fact that a film about a writer (which intermittently includes script elements) isn’t particularly well written is ironic to say the least. This is basically another love letter to Hollywood’s “great” past like Quentin Tarantino‘s similarly critically overrated shite-fest OUATIH. It's a black and white ode to a period of time that only a select few give a toss about; it’s made for film students, cinephiles, and pompous critics.

又名《嫩模圈》