另外一处成心思的片断，是在早晨的纽约，开宝贵跑车逾越哈德逊河回公司的路上，一个华尔街老兵教育新人的话："If you really want to do this with your life you have to believe that youre necessary. And you are. People want to live like this in their cars and their big fucking houses that they cant even pay for? Then youre necessary. The only reason they all get to continue living like kings is because weve got our fingers on the scales in their favor. I take my hand off and the whole world gets really fucking fair really fucking quickly and nobody actually wants that. They say they do but they dont. They want what we have to give them, but they also want to play innocent and pretend they have no idea where it came from. Thats more hypocrisy than Im willing to swallow. Fuck them. Fuck normal people."短短几句话，绝不传教，刹时让这部片子和inside job之流的文艺青年说教片高低立现。

从服装到糊口中的点点滴滴无不表现了妮娜这一脚色小公主形象，与以后的改变有强烈的对照，也是很好的展垫。

是她面对家庭压力硬扛梦想的心声，当她手拿一本《演员的自我修养》前行时正如20年前尹天仇在小屋子里静看这本演员必修书籍。

但是，就算《出格响，很是近》试图描画灾害事后的美国众生相，这类简单的描画体例或许能到达治愈的结果，但依然不是一部伟年夜的片子。...