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总统的女儿劳拉（克里斯汀·贝尔 Kristen Bell 饰）遭人绑架，拥有丰富办案经验的斯科特警探（方·基默 Val Kilmer 饰）成为了调查案件的主要负责人，与此同时，警方和政府各部门亦派出资深成员涉入案件，其中甚至包括了总统的顾问。 在巨大的压力之下，斯科特展开了艰难的取证行动，在此过程中，一个贩卖妇女的犯罪团体渐渐浮出水面，不仅如此，种种迹象表明，知名政客斯托达德（威廉姆·H·梅西 William H. Macy 饰）亦被牵连其中，这并不是一宗单纯的绑架案。就在斯科特离真相越来越近之时，媒体忽然宣布了劳拉已经死亡的消息，尽管之后案件草草收尾，但斯科特依然坚信，劳拉依然活着。相思误电影版黑色风暴阿福寻宝记黑井往事森林谜案一级机密93国际列车大劫案：莫斯科行动公理2019云淡风轻一个女人的一生太极气功我要上头条东城寿司最后的警察 电影版万万没想到2015警戒之眼美国夫人跨越彩虹冲撞童军手册之僵尸启示录来电奇缘欢迎来到利雷家W谋杀案如果重来一次校园风云名门绅士2：淑女之心万生祁恋哥斯拉1998甘田一豪宅谋杀案英国博士东北妞僵尸奖门人戴维克罗的恋爱和魔法血腥兄弟会非常病患第一季开什么玩笑！机不可失第一季成真2020富贵吉祥粤语亚森·罗宾第三季天外者从爱情到幸福东区女巫 第一季好汉不死出埃及记
总统的女儿劳拉（克里斯汀·贝尔 Kristen Bell 饰）遭人绑架，拥有丰富办案经验的斯科特警探（方·基默 Val Kilmer 饰）成为了调查案件的主要负责人，与此同时，警方和政府各部门亦派出资深成员涉入案件，其中甚至包括了总统的顾问。 在巨大的压力之下，斯科特展开了艰难的取证行动，在此过程中，一个贩卖妇女的犯罪团体渐渐浮出水面，不仅如此，种种迹象表明，知名政客斯托达德（威廉姆·H·梅西 William H. Macy 饰）亦被牵连其中，这并不是一宗单纯的绑架案。就在斯科特离真相越来越近之时，媒体忽然宣布了劳拉已经死亡的消息，尽管之后案件草草收尾，但斯科特依然坚信，劳拉依然活着。相思误电影版黑色风暴阿福寻宝记黑井往事森林谜案一级机密93国际列车大劫案：莫斯科行动公理2019云淡风轻一个女人的一生太极气功我要上头条东城寿司最后的警察 电影版万万没想到2015警戒之眼美国夫人跨越彩虹冲撞童军手册之僵尸启示录来电奇缘欢迎来到利雷家W谋杀案如果重来一次校园风云名门绅士2：淑女之心万生祁恋哥斯拉1998甘田一豪宅谋杀案英国博士东北妞僵尸奖门人戴维克罗的恋爱和魔法血腥兄弟会非常病患第一季开什么玩笑！机不可失第一季成真2020富贵吉祥粤语亚森·罗宾第三季天外者从爱情到幸福东区女巫 第一季好汉不死出埃及记
长篇影评
1 ) Spartan, as always
In Mamet's mind, there must be fond association with the word "Spartan", for his taste in dialogues and acting does have a Draconian quality to it.
Watching this movie a second time, I find myself in a more leisured pace, which is hard to do for a Mamet film the first time around: the conversation tends to be less than direct, loaded with slangs, inner-ring references, and surprising analogies or similes that you are not sure if you get them right ("What? 'Ants pissing on cotton'---is that right?"). There is no courtesy from the director to take your hands and show you around the plot development; Mamet is reserved with info to share with the audience, and you are expected to be surprised side by side with the characters---this is one director whose plot is pretty hard to second guess. But you ARE thrown bits and pieces of the jigsaw that you are supposed to piece together. You are invited to a puzzle.
Now that I am more leisured, I have time to summarize what I like about Mamet's movies. Here are a few thoughts:
- There is always an elegiac quality to Mamet's movie, underscored by soundtrack. But there's no clear reference to any bygone time and place, as in Westerns. Here is nostalgia without a home. The film is suffused with a controlled pessimism, emotional isolation, out of cynicism and distrust, and, most remarkably, a curious desolation of spirit. Some may call it paranoid, but it is more complex and layered than one man's paranoid. It is uniquely Mamet-ian.
- Mamet's dialogues have a distinct, deliberate cadence, with which all actors and actresses need to comply, including greats like Hackman. Very reassuring, and promising in an old-friend sort of way, telling you that inspite of the strange landscape, you are in familiar country. However, they do tend to sound less brilliant when you watch the movie a second time.
- Related are the chewy, quizzical lines that I always relish, sentences like: "You wanted to go through the looking glass." OR: "I saw the Sign." --- "Then you are truly blessed." They always make sense when the plot moves on. The trick is the lead time, or "时间差": if delivered a few minutes later, you would have expected it, then it lost the charm. Timing is everything.
I love it when playwrights for the theater turn to direct or write for movies. Harold Pinter is too monochromatic; Sam Shepherd is not eccentric enough, for my taste; Mamet is the Man.
"Then you are truly blessed."
Watching this movie a second time, I find myself in a more leisured pace, which is hard to do for a Mamet film the first time around: the conversation tends to be less than direct, loaded with slangs, inner-ring references, and surprising analogies or similes that you are not sure if you get them right ("What? 'Ants pissing on cotton'---is that right?"). There is no courtesy from the director to take your hands and show you around the plot development; Mamet is reserved with info to share with the audience, and you are expected to be surprised side by side with the characters---this is one director whose plot is pretty hard to second guess. But you ARE thrown bits and pieces of the jigsaw that you are supposed to piece together. You are invited to a puzzle.
Now that I am more leisured, I have time to summarize what I like about Mamet's movies. Here are a few thoughts:
- There is always an elegiac quality to Mamet's movie, underscored by soundtrack. But there's no clear reference to any bygone time and place, as in Westerns. Here is nostalgia without a home. The film is suffused with a controlled pessimism, emotional isolation, out of cynicism and distrust, and, most remarkably, a curious desolation of spirit. Some may call it paranoid, but it is more complex and layered than one man's paranoid. It is uniquely Mamet-ian.
- Mamet's dialogues have a distinct, deliberate cadence, with which all actors and actresses need to comply, including greats like Hackman. Very reassuring, and promising in an old-friend sort of way, telling you that inspite of the strange landscape, you are in familiar country. However, they do tend to sound less brilliant when you watch the movie a second time.
- Related are the chewy, quizzical lines that I always relish, sentences like: "You wanted to go through the looking glass." OR: "I saw the Sign." --- "Then you are truly blessed." They always make sense when the plot moves on. The trick is the lead time, or "时间差": if delivered a few minutes later, you would have expected it, then it lost the charm. Timing is everything.
I love it when playwrights for the theater turn to direct or write for movies. Harold Pinter is too monochromatic; Sam Shepherd is not eccentric enough, for my taste; Mamet is the Man.
"Then you are truly blessed."
2 ) 演那个女儿的演员
电影比较暴力！
打打杀杀，没把人命当回事，不是很认同这种方式．
倒是演那个失踪的女儿的演员让我眼前一亮：不就是＜Veronica Mars＞里面那个Veronica吗，我超爱她的．
虽然在这部片子里是个大配角，形象也太……惨，但是还是挺高兴看到了她几眼。
打打杀杀，没把人命当回事，不是很认同这种方式．
倒是演那个失踪的女儿的演员让我眼前一亮：不就是＜Veronica Mars＞里面那个Veronica吗，我超爱她的．
虽然在这部片子里是个大配角，形象也太……惨，但是还是挺高兴看到了她几眼。
3 ) 坚持抗拒绝望
这部电影看过两遍，第一遍看的时候错过了名字，找了整整一个下午，就是为了知道它的名字，原因归结为我狂爱 瓦尔 基墨。无论是《沙顿海》还是《蝙蝠侠》。他的忧郁，与决绝都是我最爱的表情——
这部电影源于瓦尔对找出罗拉 牛顿 营救她回家。这让我想到了就就孩子，他们并没错，只是比别人更需要爱！
瓦尔，眼神中的坚持，抗拒，以及抗击绝望的韧性。
无不让我狂恋——
这部电影源于瓦尔对找出罗拉 牛顿 营救她回家。这让我想到了就就孩子，他们并没错，只是比别人更需要爱！
瓦尔，眼神中的坚持，抗拒，以及抗击绝望的韧性。
无不让我狂恋——
4 ) 原汁原味的馬梅
大衛.馬梅是我個人非常喜歡的一位導演，無數經典腳本都出自他手，它們風格大相徑庭，很難想像出自同一人。
因為馬梅畢竟只是編劇，只能算個打荷配菜的，導演才是這部影片的靈魂主廚。
同理馬梅自編自導的影片，也深深烙下他自己的印記。
從《賭場》《西班牙囚犯》《斯巴達人》，這味道都是似曾相識。
這部影片，開頭就疑竇叢生，懸念疊起，我很久沒有這樣投入看過一部影片，很多時候我看過電影，都是分幾次幾天甚至幾月完成一部劇集，雖然最後影片收尾有點粗糙，在我看來畢竟還是一部相當有誠意的作品，毫無懸念這部影片會永久收藏
剧情太无聊了。
剧本其实还行 但实际完成得很一般 相对于导演David Mamet还是更适合于当编剧
冲着Bell去的
真没看出跟斯巴达有多大的关系，马梅的红带高手好多了
大卫马梅的叙事、人物及节奏的处理总是那么不同凡响
【补標】
好莱坞新黑片。女孩真实下落的揭示，主人公助手的相继殉职，都够四的水准。但独往营救的动机剖析，以及最后机场终极对决往美国精神以及幸福结局的转向太狠，以致最后一幕的反讽失去了力度。三星半。
导演想让剧情跌宕结果跌宕得很假。
爱上了劳拉·牛顿这个名字。。 大叔好棒其实就是太美国了- -
以前看的
很好看的片子，有空再看一遍。
能拍这种片的郭嘉真好
为了傻逼死就是斯巴达？
马马虎虎
很久以前看的，漏网
大卫马梅 就是 各种意想不到
neat！you want gossip or shot?
预告剪辑的特好看，所以有点儿被骗的感觉。
低调的走细节和情绪的悬疑剧，大卫·马梅的剧本确实非常扎实。
中规中矩之作，结尾还以为又要是一个大新闻，没想到成了大团圆