《丑恶》的影评10篇
《丑恶》是一部由阿努拉格·卡施亚普执导，阿莉雅·布哈特 / 苏莉温.查瓦拉 / 洛尼特·罗伊主演的一部剧情 / 犯罪 / 悬疑类型的电影，文章吧小编精心整理的一些观众的影评，希望对大家能有帮助。
《丑恶》影评(一)：有剧透，可以看完后再点击
There are many events throughout the whole movie which included search and suspicion of characters around story but they are not narrated here
Kali is a 10 year old daughter out of the divorced couple Shalini Bose (Tejswini Kolhapure) and Rahul Kapoor (Rahul Bhat). Rahul pickup Kali on Saturday - the only day on which he is allowed to take out his daughter. Between their way towards a cartoon movie they stop for awhile to meet Chaitnya Mishra (Vineeth Kumar), Rahul's best friend for a quick audition of struggling actor Rahul. Kali rejects to come with him and she sits in the car on a crowded Mumbai street and ask Rahul to come back soon. Rahul waits for his friend Chaitnya at his home leaving car parked with Kali in the street.
While waiting Kali sees a mask-vendor who is trying to sell animal masks and Kali is attracted (but does not get out of car,presumably) Chaitnya comes after few minutes to meet Rahul and says Kali is not in the car and the door was open. Rahul runs to find and Chaitnya follows him. They ask everyone on street if they saw any little girl but nobody answer. Chaitnya spots the mask vendor Shrilal (Murari Kumar) and ask him but Srilal do not answer and stare instead. Chaitnya sees that Shrilal is having iPhone of Kali and ask him how did he had that phone. Shrilal runs and both Rahul and chaitnya follows. In a long chase, Shrilal gets hit by a car/truck and dies instantly.
Rahul and Chaitnya goes to police station to meet Inspector Rane (Sandesh Jadhav) to file missing report of Kali and death of Shrilal. While the continues unwanted, not-so-funny questions by Rane and his team to Rahul, Rane ask Rahul's home number to call. Rane realise after dialing that the number belongs to his Head and Senior Inspector Shoumik Bose [nm0747172] who is a very rough, rude but yet respected and honest police officer. Thus concluding that Shoumik is step-father of Kali. Rane calls Shoumik and he arrives instantly at police station. Police goes to Shrilal's house to see if he has kept Kali there but there is only Shrilal's aged aunt who denies having kidnapped any kid. Police search arounds but do not found Kali. Shoumik hits Rahul and Chaitnya very much and we see in flashback that all Shoumik, Rahul and Shalini were in same college where Shoumik and Rahul both wanted Shalini but Shalini was attracted to much handsome Rahul and Shoumik was teased a lot. In today, Shoumik blams Rahul for the kidnapping of Kali because he can't meet her daily and Shalini keeps her away from him because of his drinking habit. But later it is revealed that Kali is not kidnapped by Rahul.
Chaitnya, who is having lots of pending dues to pay make a fake call to the Rahul asking for a ransom amount of Rs. 10 Lacs but before Rahul can arrange money Chaintnya's call is traced and Rane catches and again hits Chaitnya very much to find out if he has Kali. Shoumik ask Rahul to talk with Chaitnya to find out where is Kali but it is revealed again after few scenes that Chaitnya is also not behind the kidnapping. Between we again see a flashback that after marrying Rahul, Shalini was not happy since Rahul didn't had any job as actor and they lived in a very small room without money for very long. Kali was born and aged 5 years around. Chaitnya visits Shalini and Shalini who is angry and bored from money-less dull life and fighting life mixes a very little amount of sleeping powder in Kali's milk for her own greed of satisfaction and spends night with Chaitnya. Shoumik married Shalini when once Shalini was beaten cruelly by Rahul but Shoumik never loved Shalini the way a husband do.
We are introduced by Rakhi Malhotra who is best friend of Shalini but is having affair with Shalini's first husband Rahul leaving her own husband aside. Rakhi is a struggling actor like Rahul and is out of money. She also takes advantage of Kali's kidnapping by calling for ransom and asking sum of Rupees 20 Lacs. To arrange this money Rahul goes to loot a jewelry store but is failed. Other than this, Shalini's brother Siddhant (Siddharth Kapoor) who is a local smuggler and is out of money also tries to dig gold by calling Shalini for ransom and asks 50 lacs. Shalini, again, greedy for money and bored from husband adds her own amount and ask from her father total of 65 lacs for ransom and says that kidnapper has strictly said not to tell Shoumik about this. Her Father arranges money and Shalini after deducting her own amount and gives rest to Siddhant not knowing that it is him who is asking and not any kidnapper. Shoumik comes to know this and goes to Shalini shouting that she cheated her father - and ask where is remaining amount and Kali is not coming home this way. We see in flashback that Shalini has asked Rakhi to keep 15 lacs secure. but Rakhi runs away with money including team of Chaitnya and Rahul. Shoumik tells this to Shalini and an outraged Shalini shoots Shoumik with gun and Shoumik is injured on shoulder. Siddhanth is caught red-handded with money.
Later, Shalini runs away from home without saying any thing. Shoumik, after not finding his daughter seating alone attends a call from Rahul where Rahul tease Shoumik but he is not affected by any of it and says whether or not Rahul is having Kali with him; just answer yes or no. Rahul puts the phone down and hits Chaitnya shouting that Chaitnya ensured Rahul that Shoumik is behind Kali's kidnapping but he does not have her and Chaitnya did all of these for money and Rahul (assumably) kills Chaitnya in that fight. While this, Rakhi runs away with all money alone.
ext day we see that police department gets a call complaining about Shrilal's old-aged aunt from Lucknow, Uttar Pradesh police station for child-kidnapping. A police detective meets the aunt and tells her if she knows anything about Kali then speak. She does not say anything but later she approaches the same deserted market area from where Kali was missing very early morning and police detective follows her. Later, police detective call Shoumik to come with team at same place as Kali is found. In the last scene of movie, Shoumik and his team comes to that discarded area of market, where Kali was kept bounded from hand and mouth and she is dead. Her whole body is fungus-ed. due to being dead from last so many days. police detective tells Shoumik that she was here the whole time and we could have saved her. She was drugged and kidnapped by Shrilal.
The story tells us a reality of the cruel world by depicting money-greed friend, outraged first husband, senseless brother, money derived and betraying friend and wife and rude police officer. All of them wanted more than what they already had and while all of this - they all lost a little innocent girl. It is seen that even though none of them can be blamed - all of them were murderer.
《丑恶》影评(二)：责难游戏——专访[丑恶]助理制片兰詹·辛格
“宝莱坞=印度片”，很多人仍然在这两者间划上等号，实际上，宝莱坞只是以孟买为中心的印地语电影产业，除此之外，还有泰米尔语、泰卢固语、孟加拉语等20多个语种的电影，前几位的电影产量与宝莱坞不相伯仲。而且，如果将宝莱坞它们定义为主流电影，那么，还有另一片占据南亚大陆5%左右的陌生地带，等待我们进一步去探知——印度独立电影。
问及本片导演阿努拉格·卡施亚普，助理制片兰詹·辛格一脸敬意：“阿努拉格是想要革新印度电影的一个导演，他非常擅长拍摄独立片。我们喜欢他，支持他，同时，也觉得他很成功，因为他让这类电影能被全世界的观众，特别是被年轻的观众所接受。”
兰詹是阿努拉格创立的制片公司的其中一员，他对阿努拉格的崇敬，首先在于后者充满争议的电影：在他的[黑色星期五]、[戴夫D]、[穿黄靴子的女孩]、[瓦塞浦黑帮]等片里，充斥着酒精、毒品、暴力、愤怒、焦虑的年轻人和绝望的中年人……这些满满负能量的电影主题，揭开了酣歌醉舞之下，一个现实的、真实的、诚实的印度。在阿努拉格他们的努力下，在这几年，独立电影声势渐长，“境况越来越好了，印度现在有一些很新的电影公司，开始为小成本电影来制片……现在看来，我们的观众群体也很不错”。当然，不可否认，兰詹和阿努拉格已经站在了印度独立片的金字塔塔尖，他们对自己事业的感慨，对未来的预见，自然会多几分乐观。
作为当下印度独立片的领头羊之一，阿努拉格还在国外影展长袖善舞，不断向国外输出优秀的独立片。去年印度电影百年，戛纳设置致敬单元，阿努拉格直接将其包揽成了自己的影展，[孟买之音]、[杀戮季节]、[午餐盒]、[丑恶]，四部他旗下的电影戴着棕榈光环，接受世界瞩目。特别值得一提的，是阿努拉格制片的[午餐盒]。戛纳展映时获得的好口碑，为它获得了各国电影老板的关注，或者，在澳洲飞往中国的飞机上，各位就能观看到这部动人的电影。作为一部成本150万美刀的独立片，收获1152万美刀的海外票房，“三大汗”的超级大片也不过如此。这是一笔足以载入印度电影史的现象，直接将印度独立电影人的热情推至高潮。
[丑恶]的钱景也相当不错。“印度有8600个电影院，粗略估计，我们可能会在700到800个电影院上映。上映完了以后，我们卖DVD版权，还有电视、网络版权。我们还在法国，比利时上映了。所以，当你制作了一部这样的电影，它可以走向全球，你的成本就可以收回来。”
就独立片、艺术片而言，印度和咱们虽然经常风马牛不相及，但也会撞上同一面坚壁。阿努拉格的[黑色星期五]，讲1993年孟买爆炸事件，被禁两年才得以上映。这部[丑恶]也遇到了麻烦。电影本打算在去年下半年于印度国内上映，但是，由于片中有一个吸烟场景，审查机构想要贴上一个“吸烟有害健康”的标识，阿努拉格则认为推广戒烟这是有关部门的职业，自己的电影没有这个义务，于是与审查机构对簿公堂，电影也迟迟未能上映。“我们最后败诉了，还是在影片里加了这个标识。我们觉得这起了一个坏头。今天你在我的电影里加‘禁止吸烟’，下次你就要加‘禁止饮酒’，以后你又控制这个，又控制那个。”
在我们看来，印度电影的审查是相对宽松的，[偶滴神呀]大大方方地调侃宗教，而即使一部合家欢电影，比如[鬼纳特归来]，也会毫不留情地讽刺政客腐败。其实，也不尽然。它也有很多令人捉摸不定的G点：“它非常保守，而且非常主观，有些极端暴力的电影过了审，有些因为各种各样的理由没能过审，只是因为一个词，一个镜头。但是它没有规则来说明，你可以拍这个，不能拍那个。一般来说，如果你讲了一些关于宗教的极端的话，拍了一些性爱的极端镜头，那么审查确实会变得很敏感。”
少有歌舞，并不浮夸，反映现实，独立电影反而是更容易为我们接受的一种形式，它们让人想起阿巴斯、马基德·马基迪的电影，让人想到“谦卑”——原来自己的电影距离自己的友邻，其实并不如地理上表现得那么接近，而且，自己常常是落在对方后头的那个。
采访_十六 整理_ CyrilS 编_山吹绿
原载于《看电影周刊》十一月下，有删节，转载请注明出处
《丑恶》影评(三)：丑恶
《丑恶》印度犯罪悬疑剧情片，灵感来自真实事件，围绕失踪的小女孩展开了一个关系复杂，扑朔迷离的绑架案件，而所有形形色色的角色也在这个绑架案的调查过程中露出了他们丑陋的嘴脸和罪恶的人心，这种对人性丑恶的揭示比绑架案本身更让人震惊。
《丑恶》影评(四)：他们都没打算找到失踪女孩
没想到印度可以拍出这样的电影。
印度的电影，就算把故事的发生地换成韩国美国来翻拍，还能感觉到那种特有的，杂乱的脏兮兮的味道，那味道是骨子里的，是存在于故事的基因里的。但这个故事，看起来也杂乱也脏，地域性的因素都有，但骨子里却是干净利落的，故事的发生地，可以是韩国美国甚至北欧。是一个有全世界理解度的故事。
结尾那里，已经改头换面准备偷渡的父亲，给警察打电话，知道自己的女儿依然失踪，突然疯了：我是谁我是谁。特别出奇，有大卫林奇的风范。
唯一不能理解的，是警察后爹对小女孩的感情。小女孩并不可爱，母亲歇斯底里，后爹却深沉又执着，甚至还拥有悲伤的片尾曲，我看了三遍，想找出解释，然而没有找到。
《丑恶》影评(五)：角色和动机
托马斯·阿奎那论证上帝的存在时曾援用过亚里士多德的理论：万物都是运动的，每一物体的运动必然要有一个推动者，由此类推，最终定然有一个静止的第一推动者，这是世间一切运动的起源和动机，也就是“神”。这个论证可以类比到几乎所有侦探或者犯罪小说中，故事中的罪犯角色就是万事之源，是“第一推动者”，而侦探或者警察绞尽脑汁，从最明显的因果关系开始一步步往回推，直到找到第一推动者，让故事完整。
而《丑恶》似乎是个反例：所谓第一推动者推了一下之后，还未曾现形就消失了，其他人物却一个接一个地充当推动者的角色，一件件旧事俨然都成了事件表面而下的汹涌暗涛，最初的推动者却越发不可见。让一宗原本简单的绑架案变成牵涉到种种旧仇新罪的复杂事件，让每个牵涉其中的人物都显露出丑恶的一面，观众更是几乎忘了原来的案件是什么。
原先的案情一句话就可以概况：演员Rahul Varshney （又名Kapoor）与前妻Shalini的女儿Kali被人贩子绑架，虽然人贩子很快就露出了马脚，但是在绑匪身份曝光之前就意外身亡。真凶已死，理论上不会再出现推动案情继续发展的事件，此时却出现了主动取代推动者角色的人物：Rahul的朋友Chaitanya，这是第一个代替消失的绑匪勒索的角色。随后其他人物纷纷插手添乱：Rahul和Shalini当警长的新丈夫为了当年的种种私怨纠缠不清，Rahul家暴妻子的旧事更是被当做这位落魄演员离婚、失去监护权和绑架自己女儿的最初动机，两人间的相互怀疑原是由于情敌之争；Shalini的弟弟也假借绑匪给姐姐打电话索要赎金；Shalini本人则在500万赎金的基础上向富豪父亲多要了150万以饱私囊，她的朋友Rakhee趁机贪掉了这150万；就连电影开头义正词严地拒绝与走私贩同流合污的警长Shoumik Bose（也就是Shalini的新丈夫，Rahul大学时代的情敌）也露出了心如铁石的一面：他娶Shalini到底是为了爱，还是仅仅为了报复Rahul？是他对妻子的冷漠，让电影第一个镜头里迟迟下不去开枪的手的Shalini最终扣动了扳机……旁观者看着这些人物争先恐后地推波助澜，让自己双手染上罪恶的黑色，怀疑“第一推动者”是傲慢愚蠢的前夫，是不忠的朋友，是虚荣的妻子，是贪婪的情人，是趁虚而入的弟弟，是冷漠的新丈夫，当然也可能是最开始就死了的那位。旁观者和这些人一起忘记被绑架了很久的小女孩。于是我们看到，故事在绑匪这个关键角色缺失的情况下走到了最后，而且是受害者惨遭撕票的黑暗结局。
如此众多的矛盾集中在这几个人物身上，假使Kali没被绑架，他们中也许早晚有人会犯下同样的罪行。而在电影里，无论哪个人物最终冒充绑匪打了电话，原先的犯罪故事的结局都是一样的：Shalini的父亲损失金钱，Kali会因无人过问而饿死。整部电影的叙事结构仿佛一个有多条不同路线的迷宫，有着确定的入口和出口，抑或一架复杂精致的机器，一旦运作起来，无论触动其中哪个零件，最后一个闸门都会被推动。这样的故事让人怀疑，所谓犯罪故事中的“第一推动者”，到底是不是只有角色上的意义，换谁来推一把都是一样的？
或许可以把犯罪故事当做叙事文本来解释吧：文学学从不说故事是人物（Person）或者角色（Figur）构成的，叙事文本的最小组成单位是“动机”（Motiv），也就是一个一个细小的主题，比如某两人之间的爱和恨，再比如某一场战争等等。它是情节（Handlung）出现和存在的缘由。关于《丑恶》这部电影，如果我们为每一个主要角色的行为寻找动机，能找到太多：情敌间的仇恨和嫉妒，梦想破碎后的颓唐，贪婪……而如果为这些动机寻找共同点，那只能是每个人身上的自私。故事的开头和结局都是因为自私，中间的每一重谎言、每一次背叛也是因为自私。故事讲到最后，真犯的生死不如其他角色的尔虞我诈重要，人物的过往和未来也可以用那唯一的动机取代：最初就是一只自私的手推动了整个事件，是谁的已经不重要了。
所以在我看来，这部电影的意义在于，它首先还不是一个有关追查罪犯的情节式犯罪片，而是将情节一层层地剥离掉，最终找到的不是“第一推动者”这个特定角色，而是最深处的动机，让人嗅到风波迭起的情节下面，那一潭死水般的人性黑暗——而既然角色和情节一起，在这潭死水中失去了个性，观众也就应该叩问一下自己，同样的情况下，自己是否也会隐在那深潭中，趁乱伸出一只自私的手。
《丑恶》影评(六)：丑 恶，如何安放……
很久没有触动我写评论的影片了，上上次还是the gone girl吧？ 电影的镜头和叙事方式让我倍感意外：毕竟对印度片浓烈的“歌舞”、“励志”、“正能量”、“戏剧化”（oh my god, 3 idiots, 功夫小蝇, 星星的孩子, 等等等）的脸谱和情节标志有了先入为主的印象记忆，我一直憋不住想这部电影不会是老外导演拍得吧！太特么写生了！ 人性看点（按情节时间顺序）： 1. 女儿为博关注，撒泼摔瓶子，被母亲责问 2. 大bose警察耍酷疯，各种监控欲，时刻录音各种老婆电话 3. 母亲被前夫的炮友（or曰女盆友）电话嘲弄，说是黑得看不下去的老姑娘 4. 前夫是个不自量力混日子的废材，带着女儿出来看电影的周六实际是为自己谋生 5.前夫的友仔，一个假正经的啃老族，上了人妻（对，一个巴掌拍不响，母亲也是主动送b的），人前警察处演仗义演软弱演同情，背后就脑子滴溜溜神不知鬼不觉和友仔的炮友策划怎么坑钱 6.见风使舵的小警察，特会打哈哈，是狗就反咬，是爷就跪舔666 7.卷了钱跑路的三人帮里，经纪人渣渣又欺骗前夫，说绑匪已归还女儿，结果前夫一个网路电话打给警察后穿帮了，假正经经纪人被砖头和乱拳terminate，艳舞炮友还是妥妥地卷钱接着跑路…… 7.各种各类无用的废柴角色，如母亲的弟弟（警察的小舅子），前夫的炮友（艳舞女演员），接受肉体利益的色胖房东，就连大部分电影里仁慈的父母人设，在这里都是宠溺之帮凶（极其顺从女儿的父亲直接上银行取钞票；一大早在厨房或卫生间忙碌的老母亲念念不忘让“吾儿早归啊”） …… 似乎是褪下了华裳， 看到了肌肤上斑斑点点， 洗去了铅华， 露出了遮盖的黑眼袋，和疲倦的空洞的呐喊：啊快给我啊我累了我也要啊…… 呵呵。 但这才是毫无遮拦的，人性，humanity……看到没有穿衣服的它们，爽飞，还是，愤怒难挡……？ （旁白：东野圭吾会不会吐槽 它嗒一嘛 斯国一哟！） 人性啊真的是非常复杂的，但又是非常简单的，没有纯一的善，或者恶，每个人都会在不同的环境影响下游走在这两端的边缘，电影里的每一个角色都在叙述这一点。只是啊： 丑，究竟能摆放在灵魂的什么位置……？ 真的，只是要绑架吗？ 我想导演拍出来，不止想告诉观众，印度人狠丑陋吧…… 重要的是： 你会想起上一次，你把丑，放到哪里了吗？ 以这句歌词为结尾吧： “i am so confused, but i know i heard you loud and clear, so i follow through, somehow i ended up here... i don't wanna think, i may never understand, that my broken heart, is part of your plan... when i try to pray, all i've got is hurt, but these four words, Thy Will Be Done…” 片尾曲很赞，还有，ugly真的很港，很喜欢……