剧照
更新时间：2024-04-11 05:24
详细剧情
由迈克尔·法斯宾德饰演的律师顾问被哈维尔·巴登饰演的毒贩拉下水，卷入了一宗高达2000万美元的毒品交易。两位美人（克鲁兹与迪亚茨）轮番登场与顾问周旋，而另一长发神秘男子（布拉德·皮特）的加入更令这场智力游戏扑朔迷离，为保全身而退，顾问决定用尽一切办法。
长篇影评
1 ) This some serious shit, but who cares right?
The yet-to-be-realised masterpiece is a film not enslaved by its narrative and characters, and simply because the full-blown ego, short attention span and the lack of ability to listen and process difficult information, PEOPLE dismiss such a film citing "who cares".
Well that's the most damaging line I constantly hear travelling in this circle, the very question involves one's existence placed on a pedestal, so anything above such naysayer's vision is put to the axes, and there's no shortage of weaponries to toy with, bad raps grow to misinformation, ultimately the message diminish itself among such PEOPLE. But really who cares right?
I do, and I'm not alone. McCarthy is a man of wisdom, and usually such a figure practice preaching among others, it was heard plainly and concisely through the Jeweller's words that serve as the theme statement of the film. As if McCarthy knew of what was coming, therefore with almost child-like revenge, he made the film more difficult to follow.
Though our main protagonist and titled character, the counselor's story carries little to no weight in the development of events took place in the story. He does not even have a name in case you haven't realised, he has no places of business and no house realised in the story's universe. The counselor is purposefully crafted to be the witness, the visual realisation of the audience inside the story. The counselor is such a role that assesses the status quo, accepts reality - be it glory or defeat, makes judgement and not real decisions and often is the target for blame.
The counselor appears sophisticated and confident, much like the audience who have so grown to take this type of crime thriller for granted that they don't even try to follow the story. Only when it begins to be more challenging, they let themselves down rattling and dismissing. Lack of real enemy and no real approach to dodge his fate, the counselor embodies the audience and is utterly clueless.
The counselor symbolises our emotional anxiety and in this film, lost the frontline battle between good and evil, as a direct consequence of avarice. Whom to suffer but the innocent wife of religious purity.
McCarthy's first spec script is a bloody good time, the man's severe obsession to death has flourished from the randomness/madness expressed in No Country For Old Man to the masterfully cunning meaninglessness (the certainty of uncertainty demonstrated by all characters in this film).
When a snuff film was delivered at the end, our wildest imagination points us nowhere near the power behind the curtains, the audience is left to mistake the femme fatale of Malkina as some sort of intimidating realisation, when all she does is putting money into the next person's hand. The avarice is the initiation, but it doesn't have to be the conclusion. Cameron Diaz's final speech provides us with insights into her drive: everything is about sex, except sex itself which is about power struggle. "Cheetah kills the jackrabbits at 70 miles per hour with elegance" then Malkina moves on to order claiming she is "famished", when the power struggle is over, it's time to enjoy the reap.
The film ends on such a high note that would normally faint the hearts of any seriously-minded audience, but it didn't for it was swiftly equipped with only two clean slices of creative murdering and introverted conversations, which are either too gruesome or too demanding of repeats during playtime. Though I sense nobody is in this business for love, I'm glad somehow that pays off in this case.
Pointers: please do not waste your time trying to understand why Malkina left the counselor alive, the counselor wondered the street one night in Boise, and literally for once in his lifetime, stood in the position of someone disadvantaged and wronged, his urge to death and departure is much greater than living the status quo, that has to be realised. More importantly the counselor means nothing to Malkina, during their brief encounter at the party, Malkina barely said high but spanked the counselor a bit, the counselor has no value in attaining the money. Remember Cheetahs attack with precision and elegance, they do not stop off for a snack attack.
Well that's the most damaging line I constantly hear travelling in this circle, the very question involves one's existence placed on a pedestal, so anything above such naysayer's vision is put to the axes, and there's no shortage of weaponries to toy with, bad raps grow to misinformation, ultimately the message diminish itself among such PEOPLE. But really who cares right?
I do, and I'm not alone. McCarthy is a man of wisdom, and usually such a figure practice preaching among others, it was heard plainly and concisely through the Jeweller's words that serve as the theme statement of the film. As if McCarthy knew of what was coming, therefore with almost child-like revenge, he made the film more difficult to follow.
Though our main protagonist and titled character, the counselor's story carries little to no weight in the development of events took place in the story. He does not even have a name in case you haven't realised, he has no places of business and no house realised in the story's universe. The counselor is purposefully crafted to be the witness, the visual realisation of the audience inside the story. The counselor is such a role that assesses the status quo, accepts reality - be it glory or defeat, makes judgement and not real decisions and often is the target for blame.
The counselor appears sophisticated and confident, much like the audience who have so grown to take this type of crime thriller for granted that they don't even try to follow the story. Only when it begins to be more challenging, they let themselves down rattling and dismissing. Lack of real enemy and no real approach to dodge his fate, the counselor embodies the audience and is utterly clueless.
The counselor symbolises our emotional anxiety and in this film, lost the frontline battle between good and evil, as a direct consequence of avarice. Whom to suffer but the innocent wife of religious purity.
McCarthy's first spec script is a bloody good time, the man's severe obsession to death has flourished from the randomness/madness expressed in No Country For Old Man to the masterfully cunning meaninglessness (the certainty of uncertainty demonstrated by all characters in this film).
When a snuff film was delivered at the end, our wildest imagination points us nowhere near the power behind the curtains, the audience is left to mistake the femme fatale of Malkina as some sort of intimidating realisation, when all she does is putting money into the next person's hand. The avarice is the initiation, but it doesn't have to be the conclusion. Cameron Diaz's final speech provides us with insights into her drive: everything is about sex, except sex itself which is about power struggle. "Cheetah kills the jackrabbits at 70 miles per hour with elegance" then Malkina moves on to order claiming she is "famished", when the power struggle is over, it's time to enjoy the reap.
The film ends on such a high note that would normally faint the hearts of any seriously-minded audience, but it didn't for it was swiftly equipped with only two clean slices of creative murdering and introverted conversations, which are either too gruesome or too demanding of repeats during playtime. Though I sense nobody is in this business for love, I'm glad somehow that pays off in this case.
Pointers: please do not waste your time trying to understand why Malkina left the counselor alive, the counselor wondered the street one night in Boise, and literally for once in his lifetime, stood in the position of someone disadvantaged and wronged, his urge to death and departure is much greater than living the status quo, that has to be realised. More importantly the counselor means nothing to Malkina, during their brief encounter at the party, Malkina barely said high but spanked the counselor a bit, the counselor has no value in attaining the money. Remember Cheetahs attack with precision and elegance, they do not stop off for a snack attack.
2 ) .
看完之后可以感觉出导演的过于功利，启用了豪华的演员阵容，引用了很多富有哲理的独白。一个120分钟的电影，根本无法表现出他的初衷。
剧情过于苍白，很跳跃，细节把握的不好，主题太多，让人眼花缭乱。可惜了。
里面有句话蛮喜欢：
The world in which you seek to undo the mistakes that you made...
It's different from the world where the mistakes were made.
You er now at the crossing.
And you want to choose,but there is no choosing there.
There's only accepting.
The choosing was done a long time ago.
剧情过于苍白，很跳跃，细节把握的不好，主题太多，让人眼花缭乱。可惜了。
里面有句话蛮喜欢：
The world in which you seek to undo the mistakes that you made...
It's different from the world where the mistakes were made.
You er now at the crossing.
And you want to choose,but there is no choosing there.
There's only accepting.
The choosing was done a long time ago.
3 ) 分成前后两部分来看，震撼
我是分两次看的。第一天看了前半部分，第二天看了后半部分。前半部分轻松，甚至还有浪漫，有点故作神秘（卖钻石老人、皮特的话），夹杂着一丝丝玄机（卡梅隆的话等），还有变态（f*k 法拉利）。如果仅是看到一半，就会觉得这部电影绝对是烂片，不知所云。
第二天接着看后半部分的时候，却发生了900度大翻盘，惊险刺激，跌宕起伏，接连不断的杀人场景，无情、冷血，夹杂着无奈。猪脚的女友被擒，最后求人不成，上天无路入地无门的时候，心理被黑老大折磨到彻底崩溃，当接到dvd（估计是虐杀画面）的那一刹那，眼泪鼻涕夺门而出，演技堪称完美。
而且卡梅隆竟然背地里下黑手，想抢走毒品，失败之后又使用美人计把皮特的财产搞走，将皮特残忍杀害。
在银行家（或者说我等平民）这些食草动物面前，卡梅隆饰演的角色更像食肉动物，那么高级，那么优雅。
至此，全部电影看下来，前半部分的演绎和讲述，完全是为后半部分的发展做铺垫，以及对比。各个人物开始时的光鲜，浪漫，到后面的下场惨不忍睹，毒枭们的无情，残忍。前后对比，更是行成了强烈的心里震撼。
只能说，套用一句和谐的话，远离毒品。当然，影片能体会到的远不止于此，相信每个人都有自己的一番感悟。
第二天接着看后半部分的时候，却发生了900度大翻盘，惊险刺激，跌宕起伏，接连不断的杀人场景，无情、冷血，夹杂着无奈。猪脚的女友被擒，最后求人不成，上天无路入地无门的时候，心理被黑老大折磨到彻底崩溃，当接到dvd（估计是虐杀画面）的那一刹那，眼泪鼻涕夺门而出，演技堪称完美。
而且卡梅隆竟然背地里下黑手，想抢走毒品，失败之后又使用美人计把皮特的财产搞走，将皮特残忍杀害。
在银行家（或者说我等平民）这些食草动物面前，卡梅隆饰演的角色更像食肉动物，那么高级，那么优雅。
至此，全部电影看下来，前半部分的演绎和讲述，完全是为后半部分的发展做铺垫，以及对比。各个人物开始时的光鲜，浪漫，到后面的下场惨不忍睹，毒枭们的无情，残忍。前后对比，更是行成了强烈的心里震撼。
只能说，套用一句和谐的话，远离毒品。当然，影片能体会到的远不止于此，相信每个人都有自己的一番感悟。
4 ) 三种人生和一朵奇葩
偶遇这片子，稀里糊涂还不知道是什么的时候就被友人拖进去看了，演员阵容果真白金级，开场一幕也震撼极了，中间几个小桥段很劲爆，特别是卡梅隆迪亚兹f*ck the Ferrari 那段，对话够酷够拽，三分之二的内容都铺垫好了的时候当我们期待一个好莱坞式的高潮，它却阳痿了，大概就是这个感觉。
说说三个男主角，三种人生啊：
法叔：别看片名是the counselor，他还真就不是主角。一个不入流的律师，追女人差钱儿就跟毒枭们有点勾结想赚外快。太爱他的女人加上有同情心（赎出青蜂侠），他无法有毒枭们应有的洒脱，纠结于爱情与金钱不仅毁了自己，还误了挚爱的女人。片末要向墨西哥同行寻求宽慰却得到了一堆人生忠告简直是黑色幽默。
巴登：一看就是个土豪，玩过的女人不少可这次魔高一尺道高一丈。他那段catfish的评论真绝了，从来没听过这个比喻，不过也从来没谁见识过卡梅隆迪亚兹对法拉利做的事情的。最后的穷途末路，死后尸首竟是被自己女神的两头猎豹宠物轻轻掠过，是这个女人开始慢慢玩弄起男人的世界的注脚。
皮特：一脸痞子相，很能让我联系起inglorious bastards里面那种为目的不择手段的人。耍酷扮帅是皮特一向的看家本领，这次竟最后栽在这上面，和Natalie Dormer (Elementary里面演Irene Adler的）那次眉来眼去丢了密码也损了人命。我觉得此人智商甚高，看起来操纵了前三分之二的剧情，成功地劫到了货赚到了钱，最后栽在女神手下也是既生瑜何生亮吧。
俩女主：
卡梅隆迪亚兹真女神，养猎豹当宠物，干男人只为乐趣，不够劲还要强暴法拉利，找神父忏悔只是想找个讲自己性生活的听众；充当所有的幕后主使，轻飘飘搞死俩男主吓死一个，最后想去中国用钻石把黑钱洗净。她还有个爱好，杀人要像猎豹一样干净利落，做个优雅有范儿的hunter，简直炫酷到爆！要是能多说说她性格的来历我就更满足了，三岁失去父母？黑帮抚育她长大？年轻时感情不顺？
Penelope Cruz - just soooo hot, 没得说，谁看了她不血脉喷张谁不是真汉子啊；男人们爱上顶级美女，并想用所有办法取悦她们的冲动是动物性的原罪。
P.S. 看大家还在讨论电影的主线内容，我就也说说。三男主是三个臭皮匠赛过诸葛亮，时而干点倒腾毒品的小生意，这次皮特盯上个大活，当然就像水浒传里的生辰纲一样，不止是他，卡梅隆迪亚兹也盯上了这2000万的货。卡梅隆迪亚兹的眼线成功地做掉青蜂侠拿到线索劫走了车，皮特没有告诉同伙的情况下独自招人把女神的货劫走了并拉到芝加哥卖钱。皮特同时玄玄乎乎地告诉法叔其他毒枭可能盯上了他以期骗他们走人，不料这时女神怒而展开了对他们三个人的捕杀..
还望大家继续讨论！
说说三个男主角，三种人生啊：
法叔：别看片名是the counselor，他还真就不是主角。一个不入流的律师，追女人差钱儿就跟毒枭们有点勾结想赚外快。太爱他的女人加上有同情心（赎出青蜂侠），他无法有毒枭们应有的洒脱，纠结于爱情与金钱不仅毁了自己，还误了挚爱的女人。片末要向墨西哥同行寻求宽慰却得到了一堆人生忠告简直是黑色幽默。
巴登：一看就是个土豪，玩过的女人不少可这次魔高一尺道高一丈。他那段catfish的评论真绝了，从来没听过这个比喻，不过也从来没谁见识过卡梅隆迪亚兹对法拉利做的事情的。最后的穷途末路，死后尸首竟是被自己女神的两头猎豹宠物轻轻掠过，是这个女人开始慢慢玩弄起男人的世界的注脚。
皮特：一脸痞子相，很能让我联系起inglorious bastards里面那种为目的不择手段的人。耍酷扮帅是皮特一向的看家本领，这次竟最后栽在这上面，和Natalie Dormer (Elementary里面演Irene Adler的）那次眉来眼去丢了密码也损了人命。我觉得此人智商甚高，看起来操纵了前三分之二的剧情，成功地劫到了货赚到了钱，最后栽在女神手下也是既生瑜何生亮吧。
俩女主：
卡梅隆迪亚兹真女神，养猎豹当宠物，干男人只为乐趣，不够劲还要强暴法拉利，找神父忏悔只是想找个讲自己性生活的听众；充当所有的幕后主使，轻飘飘搞死俩男主吓死一个，最后想去中国用钻石把黑钱洗净。她还有个爱好，杀人要像猎豹一样干净利落，做个优雅有范儿的hunter，简直炫酷到爆！要是能多说说她性格的来历我就更满足了，三岁失去父母？黑帮抚育她长大？年轻时感情不顺？
Penelope Cruz - just soooo hot, 没得说，谁看了她不血脉喷张谁不是真汉子啊；男人们爱上顶级美女，并想用所有办法取悦她们的冲动是动物性的原罪。
P.S. 看大家还在讨论电影的主线内容，我就也说说。三男主是三个臭皮匠赛过诸葛亮，时而干点倒腾毒品的小生意，这次皮特盯上个大活，当然就像水浒传里的生辰纲一样，不止是他，卡梅隆迪亚兹也盯上了这2000万的货。卡梅隆迪亚兹的眼线成功地做掉青蜂侠拿到线索劫走了车，皮特没有告诉同伙的情况下独自招人把女神的货劫走了并拉到芝加哥卖钱。皮特同时玄玄乎乎地告诉法叔其他毒枭可能盯上了他以期骗他们走人，不料这时女神怒而展开了对他们三个人的捕杀..
还望大家继续讨论！
5 ) 别人笑我太疯癫，其实我才吊炸天——评《黑金杀机》
美版《富春山居图》啊有木有？又是神片一部！如此强大的卡司阵容（迈克尔•法斯宾德，布拉德•皮特，哈维尔•巴登，卡梅隆•迪亚茨，佩内洛普•克鲁兹）里难道就没一位在接戏前好好看过剧本么？导演在角色塑造上延续了“有钱人都是神经病”这一高大上传统，每个人物一出场都是一长段逼格甚高的文艺腔台词，透着劳资是个有故事的人呐，一副高深莫测巨有背景牛叉样，你们这么爱装X干嘛不去演《小时代》啊？台词里三句话不离有色话题，可画面上有料镜头却几乎看不到，一切光动嘴炮却不干真仗都是赤果果的耍流氓啊！导演你这么爱撩拨观众良心上过得去吗？哈维尔巴登不停地让我想起《扫毒》里的八面佛，法鲨和皮特叔的西装秀型到爆（这大概也是本片唯一的亮点了），而卡梅隆迪亚兹和佩内洛普克鲁兹两位阿姨则亲身诠释了什么叫做岁月不留情。2个多小时片长，前1.5小时我都硬撑起极大耐心默默忍受着导演各种天马行空的神剪辑和剧情逻辑，心想这或许会是一盘大棋吧，先前看到对影片的各种负面评价都是喷子们故意抹黑以及无法领会导演意图的智商硬伤。事实证明我图样图乃依无啊！结尾何止是个坑，简直就是破罐子破摔放弃治疗啊喂！友情提示：皮特叔的粉丝们看到2小时左右基本可以掐掉了，以免结尾留下心理阴影。
后记——导演：雷德利•斯科特，代表作：《异形》《银翼杀手》《角斗士》《黑鹰坠落》《汉尼拔》《普罗米修斯》
好累，感觉不会再爱了……
6 ) 片子都没看懂怎么写影评
0. 要不是错过了Carrie才不会看这部
1. 男神女神聚起来飙戏看的还是很爽的
2. 有种为了重口味而重口味的感觉 性爱场景也是杀人戏码也是 too much information！
3. 导演和编剧想讲大道理 也确实把大道理写出来了 可是看着男主未婚妻被杀自己被所谓【同伴】出卖的情况下一边听一个毒枭boss讲道理一边默默流泪教人如何是好！
4. 法鲨作为一个英俊又有气质 西装笔挺的商务男 这么爱哭真的没问题吗！
5. 克鲁兹真是头号女神 天真又性感 可爱又迷人
6. 迪亚茨那浅色的眼睛下垂的嘴角以及一颗笑起来若隐若现的金牙简直叼！爆！了！
7. 巴登的角色个人认为太过于脸谱化 反正一看到他就知道是个毒枭了…… 剧中死的最舒坦的角色之一
8. 皮特真心老了啊 在电影里值得一提的只有调戏了小玫瑰 然后死的时候怒刷了一下存在感
9. 迪亚茨的豹纹文身可能是呼应了影片开始 豹子追赶着猎物 算是某种意义上说明了她是boss吧
10. 其实人生就是这样 所有你看到的事情都是你以为的 每个人其实都活在自己创造的世界里 也看不到真相
【说点题外话】
意外知道迪亚茨是加州圣地亚哥人 好评=w=
她在这部影片里创造了我个人观影史上最震撼的性爱场景 没有之一
以及看到克鲁兹的下场之后决定调查一下男朋友到底在干嘛 不然有朝一日自己怎么死的都不知道……
豹子实在太帅
其实这片子为了阵容也不值得一看 因为你看的时候根本就会睡着然后错过他们的神级表演的……
1. 男神女神聚起来飙戏看的还是很爽的
2. 有种为了重口味而重口味的感觉 性爱场景也是杀人戏码也是 too much information！
3. 导演和编剧想讲大道理 也确实把大道理写出来了 可是看着男主未婚妻被杀自己被所谓【同伴】出卖的情况下一边听一个毒枭boss讲道理一边默默流泪教人如何是好！
4. 法鲨作为一个英俊又有气质 西装笔挺的商务男 这么爱哭真的没问题吗！
5. 克鲁兹真是头号女神 天真又性感 可爱又迷人
6. 迪亚茨那浅色的眼睛下垂的嘴角以及一颗笑起来若隐若现的金牙简直叼！爆！了！
7. 巴登的角色个人认为太过于脸谱化 反正一看到他就知道是个毒枭了…… 剧中死的最舒坦的角色之一
8. 皮特真心老了啊 在电影里值得一提的只有调戏了小玫瑰 然后死的时候怒刷了一下存在感
9. 迪亚茨的豹纹文身可能是呼应了影片开始 豹子追赶着猎物 算是某种意义上说明了她是boss吧
10. 其实人生就是这样 所有你看到的事情都是你以为的 每个人其实都活在自己创造的世界里 也看不到真相
【说点题外话】
意外知道迪亚茨是加州圣地亚哥人 好评=w=
她在这部影片里创造了我个人观影史上最震撼的性爱场景 没有之一
以及看到克鲁兹的下场之后决定调查一下男朋友到底在干嘛 不然有朝一日自己怎么死的都不知道……
豹子实在太帅
其实这片子为了阵容也不值得一看 因为你看的时候根本就会睡着然后错过他们的神级表演的……
屎片
作为麦卡锡第一次亲自执笔剧本的电影，这片子确实很怪，从开头到结尾，从人物塑造到台词（尤其最后大段大段的，好像变成了舞台剧），甚至整个叙事手法（虽然我觉得无可厚非）。似乎全部角色都用血腥的结局来给法叔上了堂人生课。但不可否认的是它一定会给你绝望而罪恶的感觉吧。
应该是雷德利大爷梦游时候拍的片。
只有皮特死的那会儿最能让人打起精神，其它部分真是Boring my ASS！法叔全程帅晕！
浪费这么好的阵容。故事太要命了，一场接着一场的对话，而且对话又都这么无聊。
2013年度最失望电影非本片莫属，它带我们领略了顶级导演+顶级卡司所能造就的另一种可能。导演剪辑版or加长版曾经拯救过雷德利·斯科特的不少作品，可惜这部并不在其中。
尼玛，超强卡司的超级烂片
一般编剧思路是如何绝处逢生至少拼个鱼死网破，文豪麦卡锡的思路是：你死定了，利用难得的等死机会成为哲学家吧。没新书，来个群星朗诵的有声书解解渴也挺好。性力全开吓死所有人的女豹迪亚兹！欠星点：真想随便从老无所依里拉个人来换掉布拉德皮特
“真相没有温度” 贪心破坏双向道德的无用防线遁入间隔世界走向绝境后才后悔想起不完美的现实世界最好。不少哲学对白可以与《普罗米修斯》连上，诸多元素的幽默调侃中夹着冷爆的狠劲儿，斯科特+麦卡锡玩挺爽，我看得更爽！
我男神每次油光水滑帅气逼人就全是烂片，胡子拉碴颜面扭曲的时候都是好片。妈的，真是美貌与智慧不可兼得。
人生苦短，烂片苦长。台词多不怕，有伍迪艾伦顶天呢；台词少不怕，有<都灵之马>垫底呢；怕的是不说人话，让本不可能发生于某场景某人物的对白大段往出掉，爱谈哲学聊人生的话唠型人格平均无差分布在每一角色身上，机灵抖得像脱衣舞娘奶头上的亮片，且跟叙事推进全无关系，究竟是导演怎样一种心理需求？
4/10。RS显然不懂法律题材，他之前那部[情人保镖]也够雷。至于麦卡锡就一装逼侠，怎么说呢，本片由一连串漫无边际的对话构成，对话中用力猛塞了大量隐喻（可以当性交谈大全了），却难掩堪比纸薄的故事和人物深度。节奏无张力，叙事无目的，可怜了巴登和迪亚茨牺牲形像，他俩应该跑错[美国骗局]剧组了。
完全不知道电影想干什么，而且电影的剪辑可以说是毫无技术可言，就是粗燥的把一组一组镜头贴在一起。看了大半晌，大致觉得可能是说蛇蝎女人的奋斗史吧。看着主角一个个得挂彩，觉得真是可惜了这卡司团了。
真不敢相信这是RS拍出来的，大明星成堆的大烂片。剧情扯，剪辑烂，没节奏，各种夸大sex（有必要吗？），最无可忍受的是这部片子散发出的那种低俗。
看佩内洛普·克鲁兹的开场戏以为那就是性感了，结果看到后来卡梅隆·迪亚茨的那场戏才明白你要怎样演才可以被收入影史排行榜。
很棒很黑很搞笑
NY 32. Ridley Scot的作品方差真是大，有意思。卡梅隆迪亚兹在这部电影中创造了可以载入影史的sex scene。皮特死的很重口，旁边美国佬都各种Jesus Christ了，哈哈哈哈。但是你们这些大腕都不能把音发清楚吗魂淡！！！！
大段大段无谓而做作的对话。这么好的卡司就这样被浪费了。
也不是完全一塌糊涂，老斯科特或许是装逼过头，这片子本来就是要么很好要么很差的料子。于是我为了坚持看完所以专门开了弹幕，但是上面的吐槽果然还是比正片精彩多了。
就是一个猪一样的队友害死全队的故事。全明星，盛名之下其实难副。开头的一段sex完全可以去之。最后Bradpitt的死法和摩托车手去头法让我恶心坏了。Diaz fuck car那段笑s，她真是两胸平平武艺超群，两腿细细身怀绝技。