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文本拖了影像的后腿。指涉的reference和典故太多但卻沒有在此基礎(chǔ)之上的新意。遺憾淪為了一部純粹的傳記片。好在影像化的手段實(shí)在豐富，因此畫面看著還是很有樂趣。

李澤鋒這狀態(tài)是幼師？我感覺他不像幼師 像縱欲過度的霸道總裁

這季是不是在過于刻意炫技，美術(shù)、運(yùn)鏡、過場都是一場盛宴，但誰能想到故事是這個亂七八糟的走向？贊達(dá)亞戲份太少了啊??！最后那句“Jules是我的初戀”是不是表示下季hunter不演了啊。害，不過這季我磕了一秒Jules×Elliot。

可以。演員演技差了點(diǎn)，但是劇本笑點(diǎn)不錯。

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.