北美三大媒体一面倒给予负面评价 特别是被《Variety》和《Hollywood Reporter》狠毒批评，金狮已经几乎不可能， oscar之路一片黯淡 最重要的是影评人认为这片子没有其他李安电影那样打动人心的力量，Distanced and Cold http://www.variety.com/VE1117934527.html 太多的告诫和太少的热情，令李安的《色，戒》失去了大部分的戏剧性。那些正面全裸 女性的镜头，并没有《断背山》中细腻的描写来得更动人，之前被大肆宣传的李安的新 作，就这样褪去了光环。更重要的是，在这场猫鼠游戏中，我们看不见充当诱饵的汤唯 处於何种危险境地。 ──《综艺》杂志 　　无聊中的数次兴奋 　　李安的新片可以用士兵描述战争的一句话来形容：长时间的百无聊赖中夹了数次极 端的兴奋。影片中一场相对紧张和血腥的谋杀场面和数个看起来非常逼真、令人忍不住 掰手指的性爱镜头──正因为这些场景，影片被定为NC-17级。不过，想要看这些令人兴 奋的情节，你要忍受156分钟来看几个长得并不吸引人的中国人在电影中与日本人作战。 虽然有着不错画面和摄影，但冗长的篇幅令《色，戒》很难赢得足够突破NC-17级限制困 境的喝彩。 　　《色，戒》的故事比较像保罗﹒韦霍文几年前执导的《black book》，但吸引程度 却不如後者。《black book》片中，一位犹太女人为了反抗而与纳粹上床；《色，戒》 中则是一个名叫王佳芝的唯心主义女孩，为了暗杀汉奸，自愿地去当易先生的情妇。影 片中大量精心设计的场景缺乏吸引力，虽然看起来漂亮，但故事性却很差。 ──《好莱坞报导》 Lust, Caution Se, Jie (Hong Kong-U.S.-China) By DEREK ELLEY A Focus Features release (in U.S.) of a Haishang Films presentation, in association with Focus Features, River Road Entertainment, Sil-Metropole Organisation, Shanghai Film Group Corp. (International sales: Focus Features Intl., London.) Produced by Bill Kong, Ang Lee, James Schamus. Executive producers, Ren Zhonglun, Darren Shaw. Co-producers, Doris Tse, David Lee. Directed by Ang Lee. Screenplay, Wang Hui-ling, James Schamus, based on the short story by Eileen Chang. With: Tony Leung Chiu-wai, Tang Wei, Joan Chen, Wang Leehom, Anupam Kher, Chu Tsz-ying. (Mandarin, Cantonese, Shanghainese, English, Japanese dialogue) Too much caution and too little lust squeeze much of the dramatic juice out of Ang Lee's "Lust, Caution," a 2½--hour period drama that's a long haul for relatively few returns. Adapted from a short story by the late Eileen Chang, tale of a patriotic student -- who's willing bait in a plot to assassinate a high-up Chinese collaborator in Japanese-held WWII Shanghai -- is an immaculately played but largely bloodless melodrama which takes an hour-and-a-half to even start revving up its motor. A handful of explicit sex scenes (in the final act) have earned pic an NC-17 rating in the U.S., where it goes out in limited release Sept. 28. But beyond the notoriety of a Chinese-language picture with full-frontal female nudity, pic lacks the deep-churning emotional currents that drove Lee's "Brokeback Mountain" and his best other works. B.O. in the West looks to be modest, once the initial ballyhoo has died down. Story opens in Japanese-occupied Shanghai in 1942, at the home of Yee (Hong Kong's Tony Leung Chiu-wai), head of the secret service of the collaborationist Chinese government, and his wife (Joan Chen). One of Mrs. Yee's mahjong partners, swapping gossip over the tiles, is the much younger Mrs. Mak (Tang Wei), the half-Cantonese, half-Shanghainese wife of a businessman who was recently in Hong Kong. As Yee returns from work and passes by the mahjong table, it's clear there's something between him and Mak, though neither one lets their façade slip. Later, Mak makes a coded phone call to Kuang Yumin (U.S.-born pop star Wang Leehom), who says "the operation can start." After this lengthy 15-minute intro, largely occupied by idle chatter around the mahjong table, the film flashes back four years to Hong Kong to show who Mak really is: Wang Jiazhi, a first-year university student whose family fled Hong Kong for the U.K. Through her friend Lai (Chu Tsz-ying), Wang falls in with a patriotic, anti-Japanese group that is mounting a play to fund their activities. Leader of the group is the passionate Kuang, who hears that Yee, a high-ranking collaborator with the Japanese, is in Hong Kong on a recruitment mission. Kuang hatches a plan in which Wang plays the fictional Mrs. Mak and insinuates herself into Mrs. Yee's confidence. But Mrs. Yee's cool, wily husband, though attracted to Wang, slips through the net. Cut to Shanghai, 1941 -- a year before the opening timeframe -- and it's round two between Yee and Wang. After Wang is rehired by the resistance to continue her Mrs. Mak role, this time their liaison is far more full-on, and as lust raises its sometimes violent head, it looks as if caution may be thrown to the wind by one or both parties. Both Leung and newcomer Tang -- whose characters are far more charismatic and attractive than in Chang's original short story -- do strike some sparks, especially in the sex scenes, which are very bold by Chinese standards. (A tamer version will reportedly be released in mainland China.) But for most of the film, the two dance around each other in conversations that don't have much electricity or sense of repressed passion -- and vitally, no sense of the real danger that Wang is courting in the game of cat-and-mouse. Moments of either grim wit (as in the messy stabbing of a blackmailing traitor) or spry comedy (Wang getting rid of her virginity to further the cause) occasionally vary pic's tone but don't bolster the underlying drama. Wartime Shanghai was far more realistically drawn in Lou Ye's Zhang Ziyi starrer "Purple Butterfly," which also conveyed a stronger sense of resistance and collaborationist politics. (Here, Yee's work, which involves interrogation and torture, is never shown.) Lee's '40s Shanghai, though immaculately costumed, has a standard backlot look; the Hong Kong sequences, largely shot in Malaysia, are much more flavorsome. Tang, a Beijing drama student who's previously played in some TV series, holds her own against Hong Kong vet Leung, who suggests the cold calculation of his character without ever going much deeper. Fellow vet Chen doesn't get many chances beyond the mahjong table, while Wang Leehom, as the leader of the resistance cell, is just OK, sans much personality. Alexandre Desplat's music injects some badly needed emotion and drama at certain points, while lensing by Rodrigo Prieto has little of the variety and atmosphere he's demonstarted on recent assignments like "Babel," "Alexander" and Lee's previous "Brokeback Mountain." Camera (Deluxe color), Rodrigo Prieto; editor, Tim Squyres; music, Alexandre Desplat; production designer, Pan Lai; supervising art director, Olympic Lau; costume designer, Pan; sound (Dolby Digital/DTS Digital), Philip Stockton, Eugene Gearty, Drew Kunin; assistant director, Rosanna Ng; casting, Ng. Reviewed at Venice Film Festival (competing), Aug. 29, 2007. (Also in Toronto Film Festival -- Special Presentations.) MPAA Rating: NC-17. Running time: 157 MIN. Variety is striving to present the most thorough review database. To report inaccuracies in review credits, please click here. We do not currently list below-the-line credits, although we hope to include them in the future. 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