救命太可怕了亚洲人多毛业码办公室欧一人上线让人当场取消alist再也不想为了薅羊毛强行去电影院颜值萎败(+演员本人debuff)的阿米锤演这么个莫名自带性瘾魔咒的男狐狸精谁吃得下呢所有完全不性感的公共场合play都使我满脑乱ring“why dont we do it in the road”来缓解恶心感;金字塔特效过时得我全程惦记没打完的刺客起源镜头和光影和剪辑全部业余得令人叹服剧本做了一些干瘪死板的耸动改编点缀了零零星星的white supremacy凝视和说教头尾拧成了徒劳自恋的波洛故事尴尬补完(以及我实在不想再听英国演员凹法语口音了jane birkin也就算了这么多年过去了何必何必)
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.