简介：该片讲述了:“托尼-斯考特的这✏部全新惊悚，回归了☃√传统影院时期的经典✉映画！”，“就纯粹的工✒艺性而言，本片无疑☐✓是出色的”，“当飞驰地火车呼♦啸而来，恍惚间☶竟能产生出不亚于☚3D特技的伦比映效，可歌可泣✍也”， “直言不讳地故事无疑☝成为诸多戏✔剧性元素的载体，对于유那些喜欢研究机☂✕油和驱动器的男♦男女女来说✡，本片不乏过硬的技术♡☶；而对于我等小白，充满娱乐性的剧情✒✄足以”，“像《危☃囍情时速》这类的旧式风☴格动作史诗也许并不☣能成为未来电影发展的☃✏方向，但若后世无从超♤越，本片则足以衬以✄✏为耻”，“这并非是✆智力的风暴，却是兴☐奋的号角”，“在现☵今这个瓶颈时期，危情✍时速至少向全世界宣告了一件事—☞—美国至少有一☁☁样东西领先于全世界：动☣作片！”本文转载自☟：/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.详情