But marrying the right man in the wrong sedan chair is not always a bad thing. Director Sam Mendes has never let me down since "American Beauty". The only explanation is that the translators want to continue the "Road" of "Road to Destruction" and make a "Road" for Sam.
Leonardo and Winslet are both old, and they are no longer the young people who had sex in the car cuddle under the Titanic ten years ago, but their acting skills have been polished. This pair is in fantasy and reality. The wandering couple is really present in front of our eyes. I think there must be a title such as "If Titanic hadn't sunk" in a certain book by some unreliable movie fans, which means to restore the process of the two from sea to land one by one, the reason Quite simply, this couple used to be so deeply rooted. But when I was young, I didn't watch movies professionally, and all I remembered was Winslet's funnel-shaped upper body squeezed by the corset and the wet slap on the windowpane in the car's lap.
In reality, Winslet is married to Mendes, who is talented and beautiful, and a pair of beautiful people. So I think the director has made an actress, it is basically a mix of talents, not necessarily an underwater transaction. Only those inexperienced directors and inexperienced actors are willing to find some inexperienced gimmicks for themselves. As for those idiots and scolding women who can't see it, they all stem from "jealousy", one of the seven deadly sins, in my opinion.
Sam's theatrical skills determine that each of his scenes is full of tension, the rhythm of the lines is very strong, and each character always has their own use - this last one seems like nonsense, even to myself. Well said.
Wheeler and April are a couple, with two children, living a normal life - the so-called normal is that April gave up her acting career, which she was not good at, and became a housewife; while Wheeler sat in the grid to revise the proposal, and
And take the time to engage in a female secretary who only knows how to type and has a big chest and no brains. Until one day, April proposed to Wheeler to quit his job, sell his house, and take his children to Paris to find his ideals and find what he really wants. To celebrate this exclusive
open days to reach a consensus, the two also can not wait to get one back against the kitchen. Although their colleagues and friends felt that their wishes were unrealistic, they did not change, and even
felt a little proud of having received a sincere affirmation from a mental patient . But as time went on, things changed, Wheeler's inadvertent wisdom was appreciated by his boss, and he was brought back to reality; April's unplanned pregnancy also became an obstacle that had to be considered. In this way, the plan fell through, and friends and colleagues accepted their changes logically, but only the madman rages like he was fooled, and finally pushes April to the brink of death.
Does life need to change?
When will we know if we are perfect?
Is it to wander for the sake of the dream or to be at ease for the sake of survival?
Is it active or passive to complete your life?
I'm still going to say that Americans at least have faith, it's a big thing for them to kill a child!
The film also revealed the length of time American men have sex—not short, but very short; if you don’t believe it, you can count.
The design of the mentally ill is very awesome, not symbolic at all, but it plays a symbolic role.
Kathy Bates is still awesome.
The wife of the Wheeler's best friend, the scene where she suddenly cried at night was amazing, dramatic, and awesome.
The two times the Wheelers, the landlady and their mad son sat together, Americans are good at writing this kind of play, everyone is useful, awesome.
I didn't like the ending that started with April's abortion, especially when the landlord's husband turned off the hearing aid at the end, which seemed deliberate and strong in the ending, and seemed "academic".
In the end, the woman who has determined the European and American style still makes me uninterested.
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