窗里的女人

这ZZZQ搞得也太TMD的违和了吧！有一个黑人警长还不够吗？黑人老公，新版蝙蝠侠里的黑人警长，黑人版美人鱼，黑人版灰姑娘，女黑人版007，黑人版超人，黑人版风流巨富（《天罗地网》即将翻拍）....白左控制的好莱坞在自作死的路上一去不回头了？！看看街头被黑人暴打的华裔亚裔，黑命贵搞得是不是太过头了？这样黑下去的美国还会是灯塔国吗？！ 我不是粉红和自干五，我也不希望看到灯塔国的灯光就这样日益黯淡下去，但自作死的人你想拦也拦不住啊。看看比美国更左的老欧洲，黑化、穆斯林化让法国英国意大利变成了什么鬼样子，就知道美国未来啥样了。看来大领导还真说对了，时与势在我们这一边。赌国运的应该知道自己的选择了。 （好吧，今天是2023年2月28日，经过了三年疫情，回过头来想起自己前年说的最后一句话，又特意翻出这篇影评，来补充一句：现在我真的不那么确定了哈，懂的都懂。）

2星，画面挺精致的，但场景不大没啥变化。女主飙演技太多，感觉神神叨叨，有点影响观感。前面一大堆要素，悬疑，幻觉，精神损伤，丧夫之疼，失去信任等等强行营造悬念。但最后简简单单把一切案情推给了一个孩子，等于前面的很多铺垫都成了废话。还让变态杀人狂小孩，自己解释一番自己的行为来给女主听，又是长话连篇的老套段子，然后孩子没打过女主，影片完，就这。。。。。。

窗里的女人

近期看了AA的新作Woman in the Window，中规中矩，没有很惊艳的惊悚片，剧情是硬伤，没拍出原著那种悬疑感，氛围没有很突出，但演技自然没得说，还有加里奥德曼，朱利安摩尔大配角助阵，虽然很想AA拿一次奥斯卡，就是缺一部封后之作～～希望能看到AA更多的好作品，运气降临一次吧！

艾米亚当斯（ 《70年代秀》(That 70s Show)、《捉鬼者芭菲》(Buffy the Vampire Slayer)、《白宫风云》(The West Wing)及《超人前传》(Smallville) ）这次扮演的是一个患有出门恐惧症的儿童心理专家Anna，她自从罹患病症之后已有10个月不得出门，平时看看老电影、喝喝小酒、和分居的老公煲电话粥、再偶尔观望对街公寓邻居生活、聊做消遣。 她的心理医生 (这家伙还是编剧！ Tracy Letts) 还在鼓励她踏出家门、同时劝说不要喝酒服药。。。。。

这周，一家人新搬入来Anna家对门，这家15岁的小儿子 Ethan (Fred Hechinger)奉母令给Anna 送乔迁之礼。。随后 他家老妈Jane (Julianne Moore、 《星图》《时时刻刻》《告别天堂》《依然爱丽丝》 ) 也来做客，不久Anna发现这一家的蹊跷来，貌似存在家庭暴力。。。呃。。。这一家男主人Alistair (Gary Oldman 《锅匠，裁缝，士兵，间谍》 ) 也跑来警告 Anna离他家人远点。。。再后来就是那晚恐怖事件。。。。。故事从此进入惊悚时刻：是男主人家暴？Anna过度服药产生幻觉？还是。。。。。 结局有点这两年青少年剧套路、美队前两年的惊悚剧也是这个结局。哈哈哈

It's clear that director Wright wants to follow steps of Hitchcock’s Rear Window with many more noir-esque classics. It is stunning that cinematography of Bruno Delbonnel (Amélie) keeps things looking fresh, where there is still some stylish shots of Adams watching TV (although if Ethan thinks Anna has a lot of films, he should come around some of the STARBURST teams’ houses) and dizzying views down the staircases. An overpowering feeling produced when Anna attempts to leave the house and during a scene where she’s confronted by the police, her neighbours, and her lodger (played by Wyatt Russell), which replicates a panic attack a little too closely for comfort. The house is photographed and lit beautifully and the feeling of being ‘trapped’ within its walls is something we can all relate to after this last year.

Amy Adams is top-notch as Anna, showing genuine vulnerability and confusion. Gary Oldman - although not appearing as much as we’d like - is as imposing as we’d expect. While The Woman in the Window isn’t as memorable as the films it pays homage to (we loved the composition of Adams with Salvador Dali’s dream sequence from Hitchcock’s Spellbound), it’s entertaining enough and perhaps more suited for its streaming destination than fighting for attention on the big screen, where it could have been a disappointment.

合理吐槽中：

1、艾米同学是不是要减肥了？ 这两年越来越丰满。。在《她》里的风姿现在也是若隐若现，呃， 最后决战怎么用体重就可以压垮顶层屋顶玻璃了呢? 导演大大也用心太、太险恶点吧。。。

2、呃。。。。 David 小哥哥那张饱经沧桑的脸越看越熟悉。。。。哦。。。。刚刚跑去当过美队二、没几天下岗、后来又转岗US agent 那个

再研究一下演员表。。。啊。啊。啊。那个闪回里的倒霉老公！。是猎鹰！哦不对、美队二。。两人是组队来串场的么？！

3、导演是《至暗时刻》那个。。所以拉了Gary 大叔还有 客串工具人了。。。。朱丽安·摩尔、艾米 和Gary 也搭档两次以上啦。这次是玩票拍个重逢么？！

个人感觉故事还是不错的，悬疑的气氛营造得不错。

其实故事引发了一个值得思考的问题，有情绪病的人，难道连“追求真相”的权利也没有了吗？

故事的女主，就身陷这样的质疑里头，身边发生的一连串诡异的事情，好像都没有办法通过常理来解释，而自己因为情绪病却被医生解释为幻觉。

大多情况下，人们往往都愿意把事情解释得简单一些。

不过，故事的女主，这个情绪病有点意思，大多人都听说过幽闭恐惧症，这位却是反着来的，她只能待在家里，不能出门，一出门就犯病。

而女主本人，还是一位心理学家，心理学家犯了心病，这问题大了去了，一般人还真治不了她。

按照老美的套路，一个人的心病，大都需要一个“非常事件”，才能解开她的心结。

“非常事件”很快来了。

女主换了个新邻居，按照老美的传统，新邻居总是要到邻居家例行拜访。

身为心理学家，面对上门拜访的邻家小孩，一眼就看出来，这小孩心里藏着事儿。

“好奇心”是女主“保持活着”的动力，“下雨天打孩子”，闲着也是闲着，女主开始“窥探”这位奇怪的邻居。

很快，小孩的妈妈也来了。

这位也算是“王牌客串”了，和女主聊天打牌，玩得很嗨。

不过，很快女主就发现这位在对面的邻居家上演全武行，然后腹部中刀走出了家门。

还有这种事儿？

女主很快报警。

在女主的眼里，这位邻居家的男主人是最大嫌犯。

这位中年危机的男子，身上可有着太多的疑点，借助万能的谷歌，女主把这位查得个底儿掉，更何况女主亲眼看到这位没事儿在厨房拿了个锤子，然后当着女主的面对儿子实施了家暴。

基于以上种种理由，是他，没跑了。

可是当警察到访，更多“诡异”的事件发生了。

孩子的妈妈另有其人，甚至连孩子也矢口否认女主声称的一切。

尽管女主认定一切都真实发生过，但所有人都觉得这只是女主的幻觉。

可是身为心理学家的女主，对自己还是自信的。

看着如此“自信”的女主，是时候揭露“最残忍”的真相了。

女主患上的“恐旷症”原来也是有原因的，而女主口中声称的“自己的丈夫和女儿不和自己住在一起，只是因为自己的病，自己每天都和丈夫和女儿通电话的”。

可是，女主的丈夫和女儿其实早就死了。

来看一看丈夫的死因。

同样也是“王牌客串”，神鹰这次没有超能力，和老婆拌了两句嘴，就直接被老婆给KO了。

事情的起因是因为女主“出了轨”，至于如何出轨，还有出轨对象，这个不重要，重要的是，女主身为心理学家，觉得这事儿通过一场旅行是可以解决的问题。

这个观点，神鹰不同意，于是只好“光荣”的死了。

回想起这一切，女主心如死灰。

从这一点上来讲，女主还是有值得同情的地方，毕竟太多的人出轨后依然可以理直气壮，再说，神鹰都挂了，也没人来和她纠缠。

但女主还是良心发现了，邻居家的那点破事儿，爱谁谁吧，既然已经生无可恋，不如自行了断。

这场又是因为开车玩手机引发的惨剧，提醒我们，行车安全是大事儿。

不过，故事里头还有一个安全问题需要“引起注意”，谷歌的邮箱真的无法追踪么，还是对外宣称如此，离开中国，就是个很大的疑点。

还有，即便不是未知邮件，JPG结尾的邮件附件，也不是可以随便打开的哦。

故事最后有反转，其实故事里头还有很多“反转”，有些细节很到位，作为悬疑片，还是值得一看的。

Look what the Academy has done to Amy Adams, following a hot streak of 6 nominations without a win, she is on her way to be Glenn Close no. 2, now she is stuck with a role doesn’t merit her talent in her long-delayed star vehicle, an adaptation of A.J. Finn’s top-selling whodunit novel, THE WOMAN IN THE WINDOW, which on paper, is so out of touch with our times, a career woman who two-times her husband and then brings ruination to him and their young daughter, therewith she is stricken by agoraphobia, vegetating in her spacious Manhattan brownstone, she yields to medication, tipples and hallucinations, until one horrible accident (a woman’s death) jolts her into questioning her sanity, and finally, she can strike out like nothing ever happens (after two life-claiming occurrences), the whole shebang is passé, and reeks of whore-shaming sexism.

Once a buzzy project may finally nab Adams the holy grail, the film is dead on arrival after the reshoots (alleged due to the negative feedback from test screenings) and multiple re-schedule of its release, but swimming against the tide, Yours Truly is not going to trash it, not least because Adams shores up the pulpy material with her full-bodied submersion into her ill-devised character, her heartfelt effusion is priceless, and one just cannot get enough of the tangible female bond between her and Moore, who has to mince her words carefully as the pivotal role of a victim with a flair of mystique. Then a hectoring Gary Oldman doesn’t know how to dial down, as a red herring, he needs to refrain from acting the obviousness.

Set up as a single-location thriller, patterning over Hitchcock’s REAR WINDOW (1954), the film asks our housebound heroine Anna Fox (Adams), a child psychiatrist, to play amateur sleuth, after she chances upon witnessing a murder across the street. For one thing, director Joe Wright (whose career is on a slippery slope) maxes out the limited spatiality to pleasingly chromatic effects, the whole movie boasts a sleek sheen which dazzles while the plot either meanders or skitters, and informs you where its money is spent (other than the paycheck for its stellar cast). Oddly, the ambience is ambivalent, the murderous intention or act has no threatening air, as if what you are watching is a prestige drama of a woman fighting for her sanity, and the reveal of the killer is hurried and he is such a featherweight menace to cow even a beaten woman like Anna, and the rickety rooftop has already suggested his slipshod downfall.

Still, THE WOMAN IN THE WINDOW is meritless of the broadside, it makes a good fist the novel’s twisty appeal and Adams is faultless for her portrayal, like Tate Taylor’s THE GIRL ON THE TRAIN (2016), it is conceived as a potboiler to build its star’s momentum and cash in box office receipts, but now, after losing that precious window of opportunity, it is an easy mark for dog pile and regrettably this is the new norm.

referential entries: Tate Taylor’s THE GIRL ON THE TRAIN (2016, 6.6/10); Alfred Hitchcock’s REAR WINDOW (1954, 8.4/10); Joe Wright’s HANNA (2011, 6.5/10).

Title: The Woman in the Window

Year: 2021

Country: USA

Language: English

Genre: Crime, Drama, Mystery

Director: Joe Wright

Screenwriter: Tracy Letts

based on the novel by A.J. Finn

Music: Danny Elfman

Cinematography: Bruno Delbonnel

Editing: Valerio Bonelli

Cast:

Amy Adams

Fred Hechinger

Gary Oldman

Brian Tyree Henry

Julianne Moore

Wyatt Russell

Anthony Mackie

Jennifer Jason Leigh

Jeanine Serralles

Tracy Letts

Mariah Bozeman

Rating: 6.4/10