你開始忘記你的模樣?。?/h3>

《人體雕塑》是一部劇情喜劇愛情電影。故事圍繞著一個(gè)貌不揚(yáng)的美術(shù)館警衛(wèi)亞當(dāng)展開。亞當(dāng)意外地成為了一名藝術(shù)系女學(xué)生的期末作業(yè)對(duì)象，而她卻有著雄心勃勃的計(jì)劃，要將亞當(dāng)從頭到腳進(jìn)行徹底的改造。亞當(dāng)一直過著平凡無奇的生活，他的外貌平平無奇，工作也是一成不變的例行公事。然而，一次偶然的相遇改變了他的一切。藝術(shù)系女學(xué)生艾米麗對(duì)亞當(dāng)?shù)耐饷伯a(chǎn)生了濃厚的興趣，她決定將亞當(dāng)作為她的期末作業(yè)對(duì)象，將他變成一個(gè)真正的藝術(shù)品。艾米麗是一個(gè)天馬行空的藝術(shù)家，她有著獨(dú)特的審美觀和創(chuàng)造力。她開始著手改造亞當(dāng)，從他的發(fā)型到衣著，從他的面部表情到身體姿勢(shì)，一切都在她的掌控之中。亞當(dāng)起初對(duì)這個(gè)計(jì)劃感到困惑和反感，但隨著時(shí)間的推移，他漸漸發(fā)現(xiàn)自己被艾米麗的熱情和才華所吸引。隨著亞當(dāng)?shù)母淖?，他開始變得自信和開朗。他的新形象引起了周圍人的注意，包括美術(shù)館的其他員工和觀眾。亞當(dāng)?shù)母淖円惨l(fā)了一系列的愛情糾葛。他發(fā)現(xiàn)自己被美術(shù)館的另一名員工莉莉所吸引，而莉莉也對(duì)亞當(dāng)?shù)母淖儺a(chǎn)生了興趣。然而，亞當(dāng)?shù)母淖儾⒎且环L(fēng)順。他開始懷疑自己是否真的喜歡這個(gè)新的形象，他覺得自己似乎失去了真實(shí)的自我。在與艾米麗的深入交流中，亞當(dāng)逐漸明白了自己真正的內(nèi)心渴望。他決定重新找回自己，不再被外界的期望所束縛。最終，亞當(dāng)和艾米麗達(dá)成了一種共識(shí)。他們意識(shí)到真正的藝術(shù)并不在于外表的改變，而是在于表達(dá)內(nèi)心的情感和思想。亞當(dāng)重新找回了自己，他決定將這段經(jīng)歷變成一幅真正的藝術(shù)品，展示給世人。《人體雕塑》是一部充滿喜劇和愛情元素的電影，通過亞當(dāng)?shù)母淖兒统砷L，探討了個(gè)人身份認(rèn)同和自我表達(dá)的重要性。它向觀眾傳遞了一個(gè)積極向上的信息，即我們應(yīng)該勇敢地追尋自己的內(nèi)心世界，不被他人的期望所左右。這部電影將帶給觀眾笑聲和思考，讓人們反思自己對(duì)藝術(shù)和生活的理解。

很喜歡,上等極品.

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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