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有没有人看到这个?模拟理论是在2021年的这段时间,包括电视的“Wandavision”的通道和好奇趋势,以及一份理论我们如何生活在模拟中的纪录片,“矩阵中的毛刺” (which also comes out today, and which I also reviewed). Maybe the universe is signaling something to us (or to me, at least) with third sim-film “Bliss,” but I couldn’t tell you what it's trying to say through writer/directorMike Cahill,因为这个科幻电影是如此肥硕,并且也毫无意义混乱。什么是真实的,什么不在“幸福”的奇思妙想中?谁在乎?

欧文威尔逊在他的表演中令人满意的是奇思妙想 - 这并不是巧合的“哇!”成了他的非正式的传单 - 但他在坐在办公室的“幸福”开始时玩得更加多云,痛苦。他只能梦想着这种敬畏的感觉,绘画湖边别墅的照片,他在他的脑海中看到,一切都在坐在他的办公桌前,为一家叫做技术困难的公司。一个无情的去饱和颜色调色板强调了什么东西,然后Cahill的剧本让Greg的事情变得更糟,这是一个令人震惊的时刻,他偶然地杀死了他的老板。不是一个只是留下一个刚躺在那里的身体,格雷格将身体推到窗帘后面,并逃到附近的酒吧。

Inside, Greg is forcefully interacted with by a woman named Isabel (Salma Hayek)谁惊呼“你是真的!”对他来说,慢慢植物这个想法,她有权。当她挥手挥手,她可以把托盘从侍者的手中拿出来。诀窍在于一些吸入一些黄色的晶体,而且,根据伊莎贝尔的说法,在酒吧的许多人不是“真实”的事实。但是,当她工程师让老板的死亡看起来像是自杀时,格雷格只是完全相信她的能力(在这里留在这里),因为尸体突然弹出窗外,撞毁了很多故事。Isabel说服格雷格在她的地方躲藏起来 - 高速公路下的临时公寓 - 并使用时间来展示格雷格,他也可以用他的手指吹掉东西。

这两个人穿过城市,几乎是古怪的独立喜剧放弃,就像一堆超级动力的沟渠。他们去了一个滚轮溜冰场,用魔法指枪吹到地上,虽然庄严而性感的音乐剧,但它们在浴室里敲打滑板时更好。但是Greg的新发现犯罪,幸福的女儿艾米丽(Nesta Cooper)正试图找到他,深深地关切她的父亲失踪了。当她接下来,当她碰到他时,两周突然通过了,他是一排被毒贩填充。“幸福”对待这一点就像一个大隐喻正在进行,而不是将观众更接近,而是相反。Cahill的电影最终使用无家可归和成瘾作为一个陈词滥调的隐喻,使其关于“发现幸福”进入吉布拉斯的大部分想法。

A tedious 50 minutes into the movie (and as shown in the more exciting trailer), “Bliss” transports Isabel and Greg, via the inhalation of special blue crystals, to a different, more colorful, and sunnier existence. They wake up in a scientific space that's like a resort lobby, and are hooked up to a giant box of floating brains called The Brain Box. This is the real world, Isabel tells him, and this is a machine she invented to get cynical people to appreciate how bad things can be. Greg doesn’t remember going into this simulation, so he doesn’t remember the history of this place, or that he's actually married to Isabel, but he recognizes the location: it’s the beautiful lakeside paradise from his drawings.He almost doesn't want to leave until he starts to see a silhouette of Emily, looking for her dad.

“幸福”比它更好,乏味更令人疑惑,令人困惑,即使是电影的幽默感也是一个问号。至少我们有威尔逊和哈耶克之间的化学,谁可以使Cahill更令人振奋的浪漫主义的想法 - 敲击滚轮溜冰场 - 作为电影之星的放纵而不是明显的奇怪的人。它们都是灵感的铸造选择,就像威尔逊如何更低调并且粗糙比平时,尽他所能为可怜的OL'Greg填补一个非常需要的背斯科。哈耶克甚至更加比赛,靠在伊莎贝尔的推动力与在雪地式世界中的自发性和天赋,并将她作为亮度的灯塔在更明亮的世界中。他们都是把自己与这个项目ect, and to their credit neither of them are overshadowed by inexplicable cameos from Bill Nye the Science Guy andSlavoj Žižekthe Philosophy Guy.

Cahill是商业中越来越多的心脏科学作家/董事之一。“另一个地球“ 和 ”我起源于。“他没有曲折,但希望扩大视角和连接 - 概念,这只是在这里略微意识到的,他最完全过度的电影。Some visual ideas work in "Bliss," like when objects from opposite worlds start to overlap with flashing cuts, or the holographic people side-by-side with flesh-and-blood in the brighter world. The non-homeless world is also given a beautiful touch with a light filter that DPMarkusFörderer.在vented for the movie,这将白光变成颜色条纹。但不是专注于这个世界,或者使用更多这些概念,“幸福”大多是Greg主要存在的陈述。

For all that Cahill has written, and the intention that he's brought as director, "Bliss" simply does not bring everything together, or achieve its desired high-concept grandiosity. With far too little going on, Cahill then tries to break one’s notion of what’s “real,” and ask the viewer to decide which is the simulation. Hanging emotions on that type of coy plotting doesn’t work, mostly because we’re too busy asking more of the questions—like, “Again, what the hell is going on?” It becomes increasingly difficult to be emotionally present within the simulation of “Bliss,” especially as it demands so much untangling.

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尼克艾伦is an Assistant Editor at and is a member of the Chicago Film Critics Association.

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Film Credits

blmovie poster



104 minutes

Salma Hayek作为伊莎贝尔


Madeline Zima.作为多丽丝

Jorge Lendeborg Arthur

Joshua Leonard作为卡梅伦


Bill Nye

Slavoj Žižek







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