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武动乾坤 快眼看书

武动乾坤 快眼看书

  • 5.6分 

    战争片 

    非洲 

  • 日语中文字幕 

    2025年 

    正片 

  • 2025-05-28 14:00:03 

  • 今井美树

  • 凯瑟琳·温妮克 拉里·戴维 鹤广美 博亚娜·诺瓦科维奇

  • 该片讲述了:好看的印度电유影不止《三傻》,阿三♠☞开启挂,一点也不比好莱坞♥☴差,18部印度高分佳☛✑作,片荒就马起来☣♤吧~Scorsese and De Niro have been pushing each other so far for so long that audience polarisation now automatically accompanies the risk of their major-league collaboration. The King of Comedy guarantees a split even at the level of expectations: it's definitively not a comedy, despite being hilarious; it pays acute homage to Jerry Lewis, while requiring of the man no hint of slapstick infantilism; its uniquely repellent prize nerd is De Niro himself. The excruciating tone is set by an early freeze-frame of fingernails frantically scraping glass. Flinch here, and you're out, because Scorsese never does while detailing fantasist Rupert Pupkin's squirmily obsessive desperation to crash TV's real-time as a stand-up comic on the Carson-modelled Jerry Langford Show. Buttonholing its star (Lewis), then rebounding from brush-offs to hatch a ludicrous kidnap plot, De Niro's Pupkin isn't merely socially inadequate; he's a whole dimension short - happily rehearsing with cardboard cut-outs, choosing the flatness of videoscreen space for his schmucky jester's tilt at being 'king for a night'. Whereas the film itself is all unexpected dimensions and unsettling excesses, with the ambiguous fulfilment of Pupkin's dream frighteningly echoing the news-headline coda of Taxi Driver. Creepiest movie of the year in every sense, and one of the best.

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