人体雕塑

《人体雕塑》是一部剧情喜剧爱情电影。故事围绕着一个貌不扬的美术馆警卫亚当展开。亚当意外地成为了一名艺术系女学生的期末作业对象，而她却有着雄心勃勃的计划，要将亚当从头到脚进行彻底的改造。亚当一直过着平凡无奇的生活，他的外貌平平无奇，工作也是一成不变的例行公事。然而，一次偶然的相遇改变了他的一切。艺术系女学生艾米丽对亚当的外貌产生了浓厚的兴趣，她决定将亚当作为她的期末作业对象，将他变成一个真正的艺术品。艾米丽是一个天马行空的艺术家，她有着独特的审美观和创造力。她开始着手改造亚当，从他的发型到衣着，从他的面部表情到身体姿势，一切都在她的掌控之中。亚当起初对这个计划感到困惑和反感，但随着时间的推移，他渐渐发现自己被艾米丽的热情和才华所吸引。随着亚当的改变，他开始变得自信和开朗。他的新形象引起了周围人的注意，包括美术馆的其他员工和观众。亚当的改变也引发了一系列的爱情纠葛。他发现自己被美术馆的另一名员工莉莉所吸引，而莉莉也对亚当的改变产生了兴趣。然而，亚当的改变并非一帆风顺。他开始怀疑自己是否真的喜欢这个新的形象，他觉得自己似乎失去了真实的自我。在与艾米丽的深入交流中，亚当逐渐明白了自己真正的内心渴望。他决定重新找回自己，不再被外界的期望所束缚。最终，亚当和艾米丽达成了一种共识。他们意识到真正的艺术并不在于外表的改变，而是在于表达内心的情感和思想。亚当重新找回了自己，他决定将这段经历变成一幅真正的艺术品，展示给世人。《人体雕塑》是一部充满喜剧和爱情元素的电影，通过亚当的改变和成长，探讨了个人身份认同和自我表达的重要性。它向观众传递了一个积极向上的信息，即我们应该勇敢地追寻自己的内心世界，不被他人的期望所左右。这部电影将带给观众笑声和思考，让人们反思自己对艺术和生活的理解。

很喜欢,上等极品.

The Shape of Things
A film review by Christopher Null - Copyright ? 2003 Filmcritic.com
Neil LaBute, you're a cruel, cruel man.

After the somewhat senseless Your Friends and Neighbors and the bafflingly bad period piece Possession, LaBute has at last returned to his roots with the kind of story that made In the Company of Men such a kick in the nuts.

Not that it seems that way from the start. At first it looks like LaBute is taking us down the usual boy-meets-girl road, when a pudgy Adam (Paul Rudd) encounters Evelyn (Rachel Weisz) in a museum. LaBute quickly starts with the nuance: She's preparing to deface a statue in a museum because she believes it's "false art." More to the point: She's getting ready to spray-paint a dick on the thing because of her concern over old world censorship, which forced the artist to fashion a fig leaf to cover the phallus.

Soon they're a happy, if unlikely, couple: Evelyn's an arty über-feminist, Adam's an awkward and unsure English major. We're introduced to another mismatched pair, old friends of Adam: Perky blonde Jenny (Gretchen Mol) and über-asshole Philip (Frederick Weller), who are soon to be married in what Philip wants to be an underwater ceremony. It soon becomes clear that Adam and Jenny have lingering feelings for one another, though Adam continues to profess his undying love for Evelyn.

Before you stop reading and dismiss this film entirely, rest assured this isn't some bad Sandra Bullock movie. Something wicked is afoot in the relationship between Adam and Eve that goes beyond that fig leaf (yes, the Genesis metaphor is wholly apropos here). Evelyn is gently encouraging changes in Adam -- some good (lose a little weight, cut your hair), some less so (get a nose job). By the time we get to the gut-punch of a finale, Adam will be a changed man. Trying not to give away too much, I'll say that The Shape of Things is vicious but also very humorous. It's a bitingly dark and a lot of fun, even if you aren't looking for depth this weekend.

But depth it has, without being pretentious. By its finale, Shape presents a real moral predicament. Adam is being manipulated, but if it's (mostly) for the better, is that so wrong? This happens all the time in relationships, and no one ever minds. Evelyn's motivations should be beside the point, right? On the surface, the film's answer is obvious, but this is the kind of movie that makes you wrestle with the puzzle as you reveal another layer of psychoses underneath.

LaBute stages Shape much like the play it is based on (written by LaBute as well), often with only two of the principal actors in a given scene. The dialogue is very "play-like" as well, slightly unreal and meticulously deadpan. And so LaBute invites us to ask whether The Shape of Things is performance art -- something beyond a mere movie -- and that answer is an unqualified yes.

My only real beef with Shape is Weisz, who I adore as an actress but who tragically sheds her British accent for a nasal and badly forced American squeak. I'm not that impressed to believe that the off-key voice is meant to be part of the show. Imagine how much more menacing she would have sounded with her wicked, true accent.

Weisz has too much screen time to put it completely aside, but in the end it's not hard to let it go. The Shape of Things is a film about insecurity, appearances, and the perils of modern relationships. It's vicious and disturbing without resorting to shock tactics like Requiem for a Dream. It's clever and mean satire, but it's also one of those stories where you say, "Hey, that could happen."

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