但還是要有些深邃和藝術性，然後呼應人道、價值同盟、太平洋民主同盟、歷史終結等大敘述。用玉碎來呼應，也不宜瓦全。「瓦全」是親中毒素思想。

像港人這類解讀，甚至無間道，都是懦弱的表現。李安也是小兒小女，什麼同性戀之類，沒有樹立主體。主體就是「立」，豈可委靡不振？！

我們要「昌、昌、昌」！

「凍蒜啦！」

距今兩千多年前，中原正值春秋戰國、諸國爭霸的時期，此時，國力強大的趙國想攻破弱小的梁國，進而一舉攻打燕國，慢慢實現一統群雄的夢想。趙國大將軍巷淹中奉命率領十萬大軍，包圍僅有孺婦平民4000余人的梁城。大敵當前，梁王向以「守城主」自居的墨家祈求一支足以匹敵的守軍；但梁王等到的卻是一個其貌不揚、孤身應戰的墨者─革離。

信心十足的趙國軍隊一開始根本不把革離放在眼裡，沒想到他屢屢出奇致勝，成功抵擋住趙軍二千兵馬的偷襲，讓趙軍束手無策，無功而返。梁國在革離的帶領下全心練兵，他並教導居民製造特別兵器，加強防守實力，以隨時應付趙國的突擊，使得梁城上下，無不對革離折服。然而，忽然到來的墨家傳人揭開了一個祕密，引起梁城民眾恐慌；梁王對革離的嫉妒也日益加劇，危機一觸即發。

城外，巷淹中使出不同的攻城方法，卻只是徒增士兵傷亡，無法攻占梁城，更令革離聲望傳遍各地，遠遠超過了無能的梁王和強悍的巷淹中。趙軍無心攻戰之際，趙王卻突然下令撤軍﹗巷淹中雖傳令撤退，自己卻堅持留下，繼續作戰，以慰戰死的同袍在天之靈。約有二千名對巷效忠的部屬，自願留下完成攻城之業。

得知只剩二千趙軍，梁王自以為能輕易應付，急著把革離趕走，梁城民眾也逐漸忘記他曾有的功勞，重返從前生活，疏於防守。就在此刻，巷淹中率趙軍再次攻城，不費吹灰之力便攻陷梁城。巷淹中沒有捉到革離，以城民作為人質，逼革離現身。

革離的出現，與梁城的命運，在戰爭的起落中懸而未決。

【關於電影】
由中、港、日、韓四地合作、投資金額高達1600美金的電影【墨攻】，原是根據森秀樹日本小學館漫畫獎的同名漫畫改編而成，是導演張之亮歷經十年策劃籌備的心血之作，匯集亞洲頂尖電影專業人員投入拍攝，並邀請韓國、香港兩位的影帝─安聖基、劉德華擔任男主角，以及一流演員包括范冰冰、吳奇隆、錢小豪、牛馬等共同演出。有別於近年來大型古裝電影華麗瑰豔的色彩，與運用大量特效呈現武打美學的方式，【墨攻】選擇以最朴素、寫實的風格作為影片的基調，來傳達戰爭的殘酷與人性的矛盾。

為了貼近歷史，【墨攻】團隊在中國河北省搭建了占地六萬六千平方公尺的大規模布景，用黃土、樹、房屋、磚塊完美地重現了二千五百年前春秋戰國時代的古城、城牆、村莊及監獄。在拍攝第一場戰爭場景時，僅僅是一個鏡頭就使用了700名
野戰部隊和150位臨時演員，組合各種隊伍形式，並於當地找來400匹馬師和馬，編製而為騎兵陣。另外還有40名專業動作演員，350位從業人員，一共上千人配合導演張之亮在兩山之間，完成趙國大兵進攻的場面。

雖然力求「真實」，但特效相對於【墨攻】而言，卻是絕對不可或缺的。【墨攻】全片有三分之二處需使用特效，大多是集中於各類攻城模式，例如︰「天燈攻城」的飛行高度及狀態、「水攻」時水花四濺的效果等，在在都需要特效根據物理學特性，做出更多符合現實世界中的影像。特效能幫助降低成本，把十萬士兵變成幾百萬人，防止人員受傷。張之亮希望在城池、堡壘、煙霧、千軍萬馬間，能隱藏起特效的痕跡，「最好的特效，就是讓觀眾忘記特效的存在﹗」張之亮說。

在服裝、美術設計的領域，【墨攻】也同樣講求簡約樸實來表現歷史，在服裝的顏色均為低調的暗或淺色系，可說這部電影是以依從歷史為主，在顏色上盡力靠近的真相，同時更強調設計上體現戲劇性的視覺效果。美術方面來說，在美術上，【墨攻】要營造一個兩千年前的戰爭，要表達到所謂當時戰國攻戰，特別設計和製作比列相當的各式戰車、兵器和各種軍備。

【墨攻】拍攝過程艱辛，主戲多於中國河北地區進行，當時正為寒冬時分，溫度大約是零下十幾度的低溫，惡劣的氣候條件考驗著整個劇組，所有人員都以過人的毅力切牙工作，就為了展開這一場史上最勢單力薄的戰役，華語電影中極少出現這樣以「攻城」和「守城」作題材，張之亮認為，【墨攻】故事本身，有許多值得思考之處，透過一個人帶著偉大的思想，幫助他人的過程，從而引出從不同觀點、立場出發的故事，對人和對思想都有很深入的刻劃。

日本上映海報

冰冰這不好看，克司令認為？

電影以五代十國的紛亂時代為背景，故事環繞著權位爭奪打轉。韓大王的王位以不正當手段搶奪得來，因此非常小心偵測有人伺機奪位，即使親如夫妻與父子的關係，也視同鄰邦強敵一樣圍堵防範；王室一家表面圓融和樂，背地裡卻暗潮洶湧，每個人各懷鬼胎。

「遙知兄弟登高處，遍插茱萸少一人。」王維的詩在電影裡意外的被賦予一種使命，意在諷刺王宮裡恪守「天圓地方」「父慈子孝」的傳統倫理，實際上反其道而行。大王將戍守邊疆三年的杰王子召回，「遍插茱萸少一人」的遺憾不再，卻是夫婦反目成仇、兄弟鬩牆的開端。

所有的權謀和策劃將在重陽節那夜翻牌。

那一夜，最年幼的成王子因嫉成恨，一刀刺死最受父王疼愛的祥太子，接著與父王兵刃相見……。那場韓大王鞭打親生兒子致死的戲，看來觸目心驚，據說周潤發耗費心神拍那一場戲，縱然只是劇本的一幕，亦是令人極為不忍的天倫悲劇。

那一夜，天壇廣場前舖滿成千上萬朵菊花，為著大王祭祀天地而準備。皇后的黃金甲部隊一步一步朝著皇宮逼近，殊不知大王的銀甲戍衛武士早已暗中埋伏，二軍對陣，殺聲震天，鐵蹄踏過滿地的菊花，飛濺的血染紅了花瓣。血流成河，金碧輝煌的皇宮遂成為以血為墳的葬花場。

當一切歸於平靜，宮廷的僕役以最快的速度沖洗污血，換上新的地毯，舖著成千上萬朵菊花，回復大動干戈之前的昇平祥和，一切好像從沒發生過。我看到這裡，竟有種世紀末荒涼的滑稽感。

從電影院出來，陽光亮得好刺眼，垃圾已經清走，回復往昔百貨商場應有的光鮮亮麗，我揉揉眼睛，懷疑二個鐘頭前看到的滿目瘡痍是真是幻？竟有種世紀末荒涼的滑稽感。

時代雜誌評的是"全球"(其實該說是在美國上映的電影)，這更證明了美國人和"中國人"的電影口味差異

Dec. 25, 2006版,亞洲版p.110

10. CURSE OF THE GOLDEN FLOWER

The empress (Gong Li) is canoodling with her stepson, the Emperor (Chow Yun Fat) is trying to poison the Empress, and the whole royal house seems less later Tang dynasty than Aaron Spelling's Dynasty. This gorgeous surprise from China's Zhang Yimou (Hero) looks like a martial-arts movie but plays like delirious melodrama. The fearless, peerless turns from Chow and Gong Li demonstrate how the fiercest swordplay can come from two charismatic stars staring daggers at each other.

順便把西洋版"無間道"的影評也貼上來比較

3. THE DEPARTED

The cops put an undercover man in the gang, the gang has an informer among the cops, and Jack Nicholson gives a grand, snarling, nutsy performance as this film's presiding force of evil. Director Martin Scorsese--appalled, yet curiously joyful--has often explored the lives of the criminal class, but this tangle of tormented loyalties brings out the bloody best in him.

我想紐約時報不會評之為年度十大電影，大概是時代雜誌亞洲版?

FILM REVIEW; Dynastic Dysfunction And Loathing

December 21, 2006

By JEANNETTE CATSOULIS

With each new martial-arts drama, the Chinese director 張藝謀 widens the distance between his adult self and his dismal youth during the Cultural Revolution, pushing himself to ever greater heights of ambition and experimentation. Energy and excess -- of color, symbolism and emotion -- are his antidotes to memories of uniformity and repression. His extravagant stories celebrate unfettered artistic expression as if it were a gift his Western counterparts have long taken for granted.

In ''Curse of the Golden Flower'' Mr. Zhang achieves a kind of operatic delirium, opening the floodgates of image and melodrama until the line between tragedy and black comedy is all but erased. Set in A.D. 928 during the late Tang dynasty, the movie wallows in the rotting marriage of a cruel emperor (Chow Yun-Fat) and his secretive wife (鞏俐), a union so corrupt that each is plotting the other's annihilation.

The emperor, with the help of the royal physician and a rare fungus, is slowly destroying his wife's sanity. Because palace protocol forbids her to refuse the ''medicine,'' the empress retaliates by planning a bloody coup during the coming chrysanthemum festival, persuading the most biddable of her three sons (Jay Chou) to join her revolt.

By this point most directors would have their hands full, but Mr. Zhang piles on the intrigue, adding a forbidden love affair, a vengeful first wife and two varieties of incest. His actors respond in kind, straining their facial muscles with silent-movie enthusiasm and doing everything but shooting flames from their eye sockets.

Matching them is a production design (by Huo Tingxiao, channeling Liberace) that brilliantly conveys the oppressiveness of opulence. As the empress moves through the palace's endless corridors, her upper body at once compressed by and overflowing from her bodice and her face covered in poisonous beads of sweat, we can almost feel the weight of her brocade gown and pendulous hair ornaments. Not the most useful ensemble for a wife intent on fleeing her husband.

Bathed in thick, primary colors and Shigeru Umebayashi's thumping score, ''Curse of the Golden Flower'' is more lurid and less romantic than Mr. Zhang's previous martial-arts drama, the swooning ''House of Flying Daggers,'' but its path to destruction is paved with visual gold. The climactic coup, staged with competing armies advancing in waves of black and gold across a field of millions of bright yellow blossoms, may be computer enhanced but is nonetheless breathtaking. Parked in the clouds, the camera gazes down on a forest of lances bisected by the massive palace walls; the screech of metal on metal sears the ears.

But the movie's most thrilling sequences belong to the silent, black-robed, assassins who attack by swinging from wires like malevolent spiders. In formation no less.

As the emperor, and the film's seething fulcrum, Mr. Chow, the action star, delivers a performance of amazing intensity, focusing his considerable energy inward to suggest a volcano primed to erupt. His pairing with the incomparable Ms. Gong is no less than inspired. Locked in a tug of war for control of their offspring, the couple provide the film with a core of marital toxicity that's almost nonverbal and deliciously unstable. Whenever the empress is not openly making cow eyes at her weak-willed stepson (Liu Ye), she's sneaking more venom into a glance at her husband than he is sneaking into her bloodstream.

Though embroiled in familiar themes of fraternal rivalry and Freudian jealousy, Mr. Zhang is aware of the ridiculousness of man's passions in the face of his impermanence. One of the film's loveliest and most allusive sequences focuses on the royal cleanup crew as it restores order after the bloodbath, rinsing away gore and burying stains beneath a fresh carpet of golden chrysanthemums. In the wake of this shadow army, the battle is erased and the dead are swept aside like so many dust bunnies.

Since his debut in 1987 with ''Red Sorghum'' Mr. Zhang has made more controlled films but never one that's more fun. With ''Curse of the Golden Flower'' he aims for Shakespeare and winds up with Jacqueline Susann. And a good thing too.

''Curse of the Golden Flower'' is rated R (Under 17 requires an accompanying parent or adult guardian). It has flying assassins, bloody battles and a mother who, like, really loves her sons.

Curse of the Golden Flower

Opens today in New York. Opens tomorrow in Los Angeles, San Francisco, San Diego, Seattle, Honolulu, Boston, Chicago, Washington, Dallas, Houston, Philadelphia, Minneapolis, Toronto and Vancouver, and nationwide on Jan. 12.