爱丽丝的失踪

尽管结局如我所料但是整个故事充满了戏剧冲突虽然场景简单 演员简单但是整个故事 融合了 爱情绑架凶杀妒忌绝望等等 感情成分非常值得一看

一場預謀的綁架勒索，200萬。

電影還未結束，我一直在想這200萬會被誰得手。

是danny帶著creed私奔還是和小v遠走天涯……在獄中danny和小v相識并相愛，兩人預謀綁架creed并勒索他的父親200萬然後私奔到地球的另一端，從新開始新的生活，做快樂的基佬。

danny在獄外的女友creed成了他們的作案對象，毫不知情的creed最終還是識破了danny。

可danny對creed說這一切只是因為愛，有了他爸爸的錢倆個人就可以私奔真正的在一起。

詭異的三角戀。

當一切敗露之後，每個人都打著自己的如意算盤。

你到底在愛著誰？

還是或許你誰也不愛，愛的只是金錢？！

小v想殺danny未果最後卻被danny三強斃命，creed也企圖殺了danny最終danny因為槍傷失血過多死了……three words eight letters i love you愛裡沒有謊言沒有背叛。

在紛繁複雜的世界面前，愛是藉口。

愛會敗給世俗。

當小v舉槍對著danny時又或是最後danny拿著槍對著小v時才會被說出口的愛，只是爲了求生的藉口。

就像creed質問danny一樣，如果你是真的愛我還要綁架我甚至在別人面前羞辱我……我就值那些錢麼……對啊，你愛的是錢還是人。

詭異的三角戀最終三個人都敗給了金錢，有了金錢，誰也再不缺一個男人也不少一個女人，卻永遠丟了心中的那份最真的愛。

最後的最後，creed把danny的屍體拖下車後自己坐在車裡關了音樂失聲痛哭，看看身旁的200萬，再次打開音樂，一個人開車揚長而去……誰會想到最後的贏家會是她呢……

被熟人绑架，是我都会感到生气还要面对裸体的屈辱，这简直就是侮辱以后不要随便相信任何人，就算是爱人的话也不要相信双性恋男真是花心，欺骗男同志之余还欺骗了直女虽然是爱人，不过能利用就要利用，爱情果然信不起男同志，直女和双性恋男共处一室双性恋男太可恶了，还好最后直女逃脱了

不太喜欢这个译名，因为很容易混淆到别的影片，直接叫《爱丽斯失踪》好了。

影片布局巧妙，没有花巧的剪辑，有别于英国那一批MV巧手；出场人物从头到尾只有三人，每个角色却演绎得有板有眼，性格鲜明，令人印象深刻，剧本作者功不可没。

这对于一部处女作影片来说，实属不易。

主题仍然是讲述人性中的贪婪，在钱面前，爱情都变成浮云了，透露出无力的绝望感。

跟Danny Boyle的处女作《同屋三分惊》很像，但这一部的格局更小，重要事件都在一间屋里展现，对导演的功力更具考验。

不是片中老男说怕别人认为我们是新手，还真的被电影的意外连连所雷倒，同志与信任，题材不错，但都浮在表面，给人感觉就是闹剧一场。

Eddie Marsan不错，在Happy-Go-Lucky中饰演那个唠唠叨叨爱上女主的司机就很有分量；Gemma Arterton总让人还是想起苔丝，那个嘴角微翘的女孩。

爱丽丝由于被丹尼绑架不再信任他试图逃跑，才导致维克发现问题，从而不信任丹尼。

维克不信任丹尼，才想杀死丹尼。

因此，丹尼才狠下心杀死维克。

最后丹尼也因之前维克给他的那一枪流血而死，而之所以流血而死是因为丹尼不再信任爱丽丝，因此没有解救爱丽丝，如果解救爱丽丝的话，也不会没人照顾流血而死。

全都是因果关系，丹尼说的那句台词是全剧的中心：你应该相信我的。

　这部影片的成功在于细节：我们看到了人质和绑匪谈论关于被俘者进入厕所的困难，感受着一种如同子弹试图抗拒U形弹道的刺激紧张。

阿特登献出了她最精彩的表演，与此同时马森也献上了如同在《无忧无虑》中那样令人熟悉的爆发式表演。

女主杰玛·阿特登做出了较大尺度的牺牲，电影只有三个演员：男1爱或曾经爱女1，女1爱或曾经爱男1，男1和男2在监狱结识并相爱，出狱后男1伙同男2绑架女1，女1不知道绑架她的人中有男1，绑架后无意中发现，男1和女1貌似还有感情，男1犹豫要背叛男2，女1勾引男1，女1背叛男1企图逃跑未果，男2发现了男1和女1认识，男2决定干掉男1，男1受伤逃脱，反过来干掉了男2，男1背叛女1，男1失血过多死，男2（濒死）解救女1后死，女1逃出，貌似心死。

3个人演出无比复杂的人物关系和心理变化，3个人之间不断的隐瞒、猜疑、背叛、欺骗、陷阱、杀戮。

上帝已死，信任喂狗！

The first and third features from English filmmaker J Blakeson, who most certainly has a partiality for dark and queer characters. TDoAC is a three-person hostage thriller shot on a shoestring, in the mode of William Wyler’s THE COLLECTOR (1965), only more ascetic and messier.The titular Alice Creed (Arterton) is a rich daddy’s girl, who is kidnapped by two ex-convicts Danny (Compston) and Vic (Marsan), things would go peachy for everyone had it not been the fact that Danny is Alice’s ex-boyfriend, and once this cardinal information is divulged, the whole shebang veers to murkier waters as viewers cannot ascertain who among the three would be the victor, each one seems to an unknown quantity.The craft on show is adroit, the opening wordless sequences are neat and bracing shot and edited, they smooth the way for audience to gear up for what it is coming - a typical hostage situation set in a single, drab location, where a voluptuous Arterton has to undergo some roughhousing, being gagged, tied, undressed (the usual suspects of S&M fantasy), redressed, and later choked and slapped, but most humiliating of it all, urinating to a bedpan in front of two masked kidnappers.Well, Blakeson does not actually go to extremes on the path to a torture porn, instead he manipulates various plot twists in a canny way that each time, when a character achieves some sort leverage, the table will be turned in a trice. Also, the fluidity of sexuality plays a major part in the double-cross/counter-double-cross gamesmanship, can sweet nothings soften the gun barrel pointing at your face? Twice out of three you might not luck out.The long and short of it, TDoAC is an absorbing debut feature mines brilliantly into its meager resource and the outstanding performances from its three players. Can a cowing Eddie Marsan transform himself into a meek lover? You must see for yourself; whereas Martin Compston portrays Danny’s bisexual oscillation with adequacy and Arterton goes for broke in her birthday suit, when all is said and done, countering to what its title alludes to, “disappearance” could be a blessing in disguise.However, in I CARE A LOT, a Rosamund Pike’s feminist vehicle, Blakeson’s irony and sarcasm goes pitch black. Pike plays a ruthless con woman Marla Grayson, who operates a company legally acquiring the guardianship of elderly people through a duplicitous scheme (often assisted by unscrupulous doctors and inane judges), so their assets are completely at her disposal (though on the face of it, the juridical procedures feel rather facile).Her gravy train hits a snag when she milks a wrong cow, Jennifer Peterson (a nonplussed then fuming Wiest is always a corker), the apparently perfect candidate, affluent, childless, all alone in the world, actually has a formable friend at court, the Russian mafia boss Roman Lunyov (Dinklage). So when the gloves are off, it is Marla and her girlfriend Fran (González) versus the murderous gangsters, do they have a chance? Or, shall we care?The answer is yes and no, the ineptitude of Roman’s riffraff is astonishingly shocking (what can you say? they botch not one but two cases of snuffing a defenseless, unconscious woman!), and Marla is depicted as an amoral overachiever, a stony-faced ballbuster, a totally unregenerate bitch (not a scintilla of remorse can be traced on her face), ergo, that really puts audience off from empathizing with her, save for the pungent disgust towards the American Dream she is spoiling for.If its paint-by-number predator/prey dichotomy sounds trite, its David and Goliath tale seems incredulous and oversimplified, what saves I CARE A LOT from heading to the abyss is Pike. Tricked out in fetching attire and unflappable towards any threats shot at her from the other sex, her Marla is “Amazing Amy” with a vengeance and irrefragably batting for the other team (her affection for Fran is genuine, a viewer might second-guess Marla’s unspecified backstory, how her reprehensible carapace could be the outgrowth of the malefic influence inflicted by the world at large, and Fran’s female warmth becomes her only safe haven). Even in the absence of cordial redeeming feats, it is still riveting to watch Pike’s Marla in action, her fearlessness is both scary and inspiring, you hate her guts but also crave for her guts (or maybe just a part of) ambivalence is here to stay.At last, Blakeson plumps for poetic justice to put paid to Marla’s unstoppable ascension (can it be construed as a veiled pro-gun testimony? In the United States, the only way for a poor, miserable guy to seek justice from a powerful woman is to use anti-personnel weaponry, how reassuring!), but it feels bathetic, unlike Martin Scorsese’s THE WOLF OF WALL STREET (2013), Blakeson doesn’t know how to dream up a proper coda for a repulsive character, he settles for the safest exit strategy, since everything in I CARE A LOT is Manichaean.Elsewhere, a debonair Messina lights up the screen as an unethical, soigné lawyer who tries and fails to railroad Marla into dancing to his tunes; Dinklage is always an atypical screen magnet, here his surly temperament is a good match with Pike’s posh sharpness. From TDoAC to I CARE A LOT, the production design goes from drab to hip, Marc Canham’s hypnotic electronic buzz swells and intensifies, but Blakeson’s script and imagination seems to be impeded by a bigger scale and more handsome budget, is it the downside of the money monster?referential entries: William Wyler’s THE COLLECTOR (1965, 8.0/10); Martin Scorsese’s THE WOLF OF WALL STREET (2013, 8.0/10).

Title: The Disappearance of Alice CreedYear: 2009Country: UKLanguage: EnglishGenre: Crime, ThrillerDirector/Screenwriter: J BlakesonMusic: Marc CanhamCinematography: Philipp BlaubachEditing: Mark EckersleyCast:Gemma ArtertonMartin CompstonEddie MarsanRating: 6.9/10Title: I Care a LotYear: 2020Country: USA, UKLanguage: EnglishGenre: Comedy, Crime, ThrillerDirector/Screenwriter: J BlakesonMusic: Marc CanhamCinematography: Doug EmmettEditing: Mark EckersleyCast:Rosamund PikePeter DinklageEiza GonzálezDianne WiestChris MessinaIsiah Whitlock Jr.Damian YoungNicholas LoganAlicia WittMacon BlairCeleste OlivaRating: 6.4/10

台词讲究，没有废话。

人物性格鲜明，但都很现实。

爱丽丝前男友丹尼和狱中新结实男友维奇，在爱丽丝毫不知情下绑架了她，因为她的有钱爸爸。

有意思的是，反转并不在丹尼计划之内，爱丽丝挣脱后，被枪口所指的丹尼不得不拉拢前女友，说服她扮演人质。

爱丽丝也不是傻白甜，在一次体液交流后，顺利拿到电话报警。

却被维奇发现（此处有些生硬），无奈之下也撒了一个谎，丹尼只是利用维奇。

维奇先发制人，丹尼虽中一枪却侥幸逃脱，维奇最终死在丹尼枪下。

临死之即，维奇将手铐钥匙给了爱丽丝，逃出的爱丽丝找到了路边轿车内做着美梦死去的丹尼（流血过多）。

爱丽丝则在痛哭一场后，拿着钱失踪了。

所以，在绑架这种高危、高紧张状态下，缺乏信任实在可怕。

人性的趋利，不考虑别人损失，很容易造成冲突。