Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.
These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.
Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.
Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.
Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.
The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.
Our camera has captured for you a few aspects of a provisional microsociety.
The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.
This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.
The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...
Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�
Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.
Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.
On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.
Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.
Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.
Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.
Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.
The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.
What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.
Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.
Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.
Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.
Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.
Voice 2: Years, like a single instant prolonged to this point, come to an end.
Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.
Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?
Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.
Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.
Voice 1: Really hard to drink more.
Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.
Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.
Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.
The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.
To really describe this era it would no doubt be necessary to show many other things. But what would be the point?
Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.
1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
这部根本就不是翻拍，是前传，很好的交代了为什么在盘丝洞里能挖出月光宝盒，为什么紫霞青霞共用一个肉身，最后芦苇荡紫霞起身完美衔接大圣娶亲的开头。应该是一部非常好的前传作品。不要用翻拍来看这剧就对了。有人说至尊宝丑，但是至尊宝本来就是一个芸芸众生中的凡人也不需要长的多出众。虽然特效和一些方面不太好，但是导演编剧 演员都很用心了，及格分还是有的！！！
靠着同行衬托，故事讲得完整流畅，编导演都不尬，还算可以
竟然出2了，而且后面还有3，这是一开始就做好2年一部的三部曲计划吗？虽然已经不怎么记得1的剧情，但是观感2比1好，可能是因为相比1里索尼克和人类培养感情，还是2里索尼克和同类培养感情更有意思？虽然我还是不知道索尼克到底是刺猬还是狐狸以及它到底有几个同类。金凯瑞这集依然是个努力承包笑点的大boss，变身后自带电音xswl，另外婚礼一段虽然胡闹但也蛮好笑的，所以这片的调调就是卡通人物负责俗套，人类角色负责搞笑。PS索尼克找翡翠的那个雪山是致敬派拉蒙logo的雪山吗？
还是要夸一夸金凯瑞饰演的蛋头博士，神经质依旧，剃了光头喜感加倍，看完让人印象深刻。
其实已经没啥新鲜感了，但金凯瑞的表演还是值得看的。
最可爱的还是这只活泼开朗的蓝毛刺猬 多了2只小可爱 从西伯利亚到夏威夷 挺好 不无聊 主题和闯关一样
越发的轻松 搞笑了 经费也更充足了
相比起前作的平庸，续集至少在特效场面上有了质的飞跃，但还是很烂，实在是不想吐槽弱智剧情了，票房高可能真的是没啥同类竞争对手，这个又很适合各年龄段一起无脑的吧
是在抖音上看到达叔后来看的。“欲知前世因，今生受者是。欲知来世果，今生作者是。”做为网大电影，还可以吧。出现了一些经典的镜头和歌曲。片尾曲《祈缘》很好听。
整体太过儿童向，很低幼，两个正派家长太多余了，连工具人都算不上，还有前半段太拖踏，完全可以删减20-30分钟。
合格的爆米花续集，没什么深度没什么新意，看着图一乐还是可以的。
特效做的还不错，但用这样的特效做这样的电影感觉没什么必要。最后是超级赛亚人大战扎古吗。
为啥刺猬惊叫声听起来那么出戏那么令人生厌
我也忘了第一部到底讲了啥反正不重要，我也纳闷怎么这个续集怎么就大卖了，反正续集还有续集。有些梗比片子都还有意思。
就是有一種打動我的力量，可能對這個角色真的有偏愛。Tails真的很值得疼愛。
可以给7分，整体还是好看的。女主角生动自然而美丽的脸庞，网络大电影终于有非整容脸的女主角了，男主角的孙悟空造型尬到我了，但演员的表演确实很好，尤其是眼神。虽然剧情过于紧凑，特效有时很简陋，但确实算一部不错的续作
真是令人发指，狗都不看
卡通和真人这么不协调的动画片居然还有人投资拍第二部，可能就是因为有我这样的大冤种看了？
这大眼睛怎么越看越恐怖谷......全片唯一亮点当然是金凯瑞，拉着把他的戏份看完图一乐也就完事了
网大电影中算是及格之作，比很大院线电影故事讲的好。这个紫霞很NICE，可以说是朱茵之后的代表紫霞了。
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