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Einar 2022-04-20 09:01:28
still scream
After 6 days, I finally watched it all. The scene in the attic was so frightening that I screamed out.Two twists and turns of viewing. The first time was 20201201 at the IMAX stage. After 20 minutes of performance, I was forced to leave. During the period, several aunties jumped up and said that...
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Alvis 2022-03-16 09:01:03
Commentary: hearty
Winning old wine in new bottle, the film offers a textbook direction for the adaptation. The director's previous "Upgrade" is also in this style. It is a low-cost B-level film, slightly packaged, and highly ornamental. It is within the scope of the genre, but the gameplay often has some ingenuity....
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Brent 2021-11-11 08:01:15
Why? Such a handsome, rich, IQ, and successful man is not the target of me? (Spread hands) Me! Can! by! what! (Dog head)
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Kaylie 2022-03-24 09:01:31
The ubiquitous surveillance, the seeming silence, the panic that came quietly, the sudden suffocation. Whether resisting or fleeing, there is always a silent depression in my heart. No matter whether he was asleep or awake, there was always a cold breath in his ears. Conquest and control are revealed, and despair and anger fight back. When you think you're in control, only to find yourself facing a bloody surprise. A large number of empty shots and the use of space have successfully explained what is called "being out of nothing". A static empty shot is nothing, and a moving empty shot is there. Although there are no substantive characters in the painting, the emotion is filled in the whole space. Inside, the tense nerves make people unable to capture the visual landing point, do not know where the "murderer" is standing and staring, the short stay gives the audience enough time to associate, and then use the following perspective to strengthen the psychological anxiety and let the audience's attention. Audiovisual senses become sensitive. You don't need to be deliberately frightened, just a few empty shots can make you feel suffocated, amazing. Revonal used extraordinary rhythm to control power and audio-visual magic, proving that he has almost become a master of thriller films on an equal footing with Wen Ziren.
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Tom Griffin: It's upsetting to see you in this condition. Even though things ended badly for you and Adrian, I still look at you as family.
Cecilia Kass: Are you my lawyer now?
Tom Griffin: I'm your lawyer for your source of income. I represent my brother's trust. The money from his trust was payable to you, conditional upon you being subject to criminal charges of any kind, or being ruled to be mentally incompetent. Now in light of your current situation, it's my duty to inform you that any further payments are to be halted. I know that you set up a bank account for a friend of yours to go to college, so I take no pleasure in relaying that.
Cecilia Kass: I used to feel sorry for you. The blood relative of a narcissist sociopath. Permanent punching bag. Handcuffed to his wallet. But now I can see you for what you really are. You're just the jellyfish version of him. Everything but the spine.
Tom Griffin: I mean you can try to litigate it. But that's going to be an expensive option, I can't see it working. However if you sign this document, and forfeit your share of the trust, it'll be a lot cleaner. Or there's one option where this all goes away. Agree to have the baby, and you go back to him. You really think he didn't know you were really usually birth control? Of course he did. You should have known he find out. You knew him as well as I did. He replaced them with something else. You only thought you were taking birth control pills. He was always going to find you, no matter what he had to do. He needs you because you don't need him. No one's ever left him before. But he's punished you enough now. Now that he knows you're the mother of his child. It's time to stop playing games. A new life with him can be given to you one phone call. A life just like your old one with Adrian. Cecilia, you don't really have a choice right now. Right now you're a murderer. But I can change that.
Cecilia Kass: Adrian killed my sister, and you help him!
[She grabs one of Tom's pens as he's distracted picking up the documents she threw to the floor]
Tom Griffin: I don't expect you to make a decision right now. I can come back in three days. Be good to yourself until then. We'll be watching.
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Cecilia Kass: [as she's about to use the pen she stole to cut her wrist] You won't get the baby. And you won't get me.
[she starts to cut her wrist, but Adrian grabs her hand]
Cecilia Kass: There you are.
[she uses the pen to stab him repeatedly, causing the suit to malfunction]
Cecilia Kass: Fuck you!
