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「He was never an asshole. He was actually really cool to me. And he could have ratted me out, like, a thousand times, and he never did. Me and him used to do all kinds of fun shit together, and the truth is, I wanted to be just like him. I loved him more than anything. And I was too fucked up to say good-bye. And in the end, that's all I ever gave him, was nothing. Do you know how that feels to have your one shot and fuckin' just blow it? It's gone. I'll never get that chance again. I just miss him so much.」「I wanted him to call for me. Is that such a terrible thing? → I call for you. I call for you every day.」

10年前後看過的，為標簽回來標記。服化道處理得稍顯魔幻化，雖然其前置有三大戲咖進行壓製，整體還是顯出一種製作感而非發生感。陳可辛很厲害（流程化的底子+淩厲的執行，二成手工藝），卻還不足夠厲害（有維度不夠平衡）。邏輯上的漏洞暫且擱置，好多聲音的後期錄製跡象太過明顯，出戲。當然，現近的大陸影壇混沌得很，出大師是一種奢望。能夠看到不過分誇張的刻畫——時代刻畫、人設刻畫、心理刻畫、關係刻畫，橫向的縱向的，平麵的深度的——已屬難得。這一部片，藝術造詣上略於《集結號》，但殘酷與現實維度的展示點得很滿很淩厲，仔細看，當真是青年啟蒙的佳作了。7.5

三個人共處的房間，微妙不在於情節，而在於風景。

比上一部好`` 值得一看

搞笑的地方其實也不多/補，小時候看過多遍，記憶最深刻的是妓院練成罵功的那一段和滴血驗親/前半部其實感覺有點混亂，後麵去到北京後感覺還不錯，可能是我後麵切換成粵語了，普通話版本看得太難受了/最後審判那一段其實不錯/主要是很氣憤，對這些顛倒黑白一手遮天的貪官，讓我想起了長夜難明，一種絕望的感覺，所以雖然這是惡搞喜劇，但是這些黑暗其實還是很實際的/整部片子對罵的話好多語速又快，感覺還是會粵語的人才看得爽/關門放狗