先发制人

这部影片叫《先发制人》讲的是一个妙龄孕妇经常听到肚子里孩子的呼唤要去杀死一些陌生人才能让它顺利降生，于是乎她就踏上了这条荒诞的亡命之途。 影片编导演都是一个人，而且她趁着自己怀孕的当口花了两个月都拍完了全片，不过那种既恐怖又好笑的情节，绝对是会让你拍手称快的。大家有条件的赶紧去找来看一下吧。

呵呵，说实话，自成为孕妇以后，我也总想杀人。每次都以一种挑选猎物的目光来审视他们，最终确定杀哪一个。

片中孕妇满足了我的杀人幻想。而且孕妇杀人是不会被判死刑的。从抑郁症变成肝火旺盛的躁郁狂，希望那些我想杀的人都离我远远的，否则哪天我可能真的控制不住我自己内心的小疯子，该死的世界。

Ditching her partner-in-crime Steve Oram from Ben Wheatley’s SIGHTSEERS (2012), a movie puts her name on the map, British generalist Alice Lowe again, goes on a killing spree in her directorial debut PREVENGE, alone but not alone, as its title’s coinage proclaims, her character Ruth is carrying a baby girl, and this unborn fetus (heard through an irksome child voice) ostensibly leans on and cajole her gravid widow mother to avenge the death of the father whom she is deprived a chance to meet. A shoestring revenge tale (shot in 11 days) told in a chronological fashion seeing Ruth track down a total 6 individuals who are responsible for the death of her husband (Bessant), sequentially and bloodily murder them (save for the last one in the abrupt and ambivalent ending). Her modus operandi is straight-forward, catching them unawares and slashing their throats, mostly, although a quasi-catfight with Len (Whelan) is too idiosyncratic to take it seriously, who needs to wear a pair of boxing gloves in the life-or-death face-off? The truth is, PREVENGE can be deemed lousy by the slasher criteria, but Lowe punctuates its gory but routine business with a combo of wry gusto and quirky irrationality, say, after she surgically castrates the libidinous DJ Dan (Davis), she is patient enough to tuck the latter's pixelated mother (Hoffman) in and does the laundry she has promised her before leaving the bloody scene. However, barring those scintillating wheezes, PREVENGE is dead serious in a mother’s antenatal anxiety and psychogenic delusion, with her grounds of vengeance fitfully teased through repeated images, and no sooner than the middle point, the cat has already been let out of the bag, the funny point is, a viewer may lean to second with her alleged wrong-doers, under certain unfortunate circumstances, sacrifice must be exacted to preempt a bigger disaster, right? Which makes the whole enchilada paradoxical and mean-spirited. “Ruth must be ruthless”, her victims range from a creepy pet shop owner (whose reptilian and arachnid collections also double as the visual pointer of Ruth’s vile outburst), a sybarite mommy’s boy, a frigid high-flying woman pontificating in a clinical corporate office room and et cetera, the only unintended casualty is Josh (Wozniak), a seemingly nice guy who simply chooses the wrong roommate and appears at the wrong time, and this apparently serves as a wakeup call to her defunct moral compass, but that is a false promise, as personal corollaries are vanishingly omitted in the storyline (the baby is fine, she clearly is not), and augmented by its flaccid conjuration of a last-shot surprise, Lowe’s quickie project is somehow mired in its own cynicism, quirkiness and rashness, but still, thanks to it, this reviewer discovers Ben Hecht and Charles MacArthur’s CRIME WITHOUT PASSION (1934), truly, only an ill wind that blows no good. referential entries: Park Chan-wook’s THE STOKER (2013, 7.4/10); William Oldroyd’s LADY MACBETH (2016, 7.9/10).