還挺飛的。被舍棄的孩子怎么說，沖繩人民的憤怒嗎？

深奧的簡潔；Living on a wall where everything is so simple for 19 days. we were going to miss this experience. 這電影和和#有熊谷守在的地方#一脈相承異曲同工心意相通，一個極靜，一個極動，一個方寸之間，一個縫隙之處，行行出狀元，各行業最頂尖的心性都是藝術，最高的藝術境界意味著每個人只能以自己特有的方式全身心的投入：Focus and objective, breathe and practice, dream big and do small. Somebody less gracious than Tommy Cidwoll might have said, "I've got to go on without you". but he was committed to Kevin" we're doing this together" . And he wouldn't have been Tommy if he'd done it any other way. You have to do in your own way. you have to live in your own way. This is it, this makes you special.

等一個老段被黑，波帝上位。還是說波帝拿了獎就以為自己穩了，那蹩腳的“小梁朝偉”人設繼續用來營銷自己無辜清純的小白花形象了。

蓋章大泉洋北海道影帝了 順便發掘到my girl非常適合演那種婊里婊氣最后還被劈腿的角色了（和本作可能無關（嗎

視覺和視效在松子一生和告白的水準上，敘事結構和剪輯技巧又敢玩了一些，留扣留得妙，雖然底子是老派的民間傳說和驅魔的底子，但是玩兒得很搖滾。作為導演，中島業務更精進了。演員表現最出色的還是黑木華。松隆子有點讓人出戲。高潮戲是弱了一點，但作為近些年的日本恐怖片，還是超能打，與《{#標題55}》的陰翳相比，《{#標題56}》就是華麗搖滾。