如果你正在犹豫要不要看，我可以告诉你：这是一部被时间埋没的末日小品。但每个人的过去都像裂痕一样逐渐浮出水面，怀疑和猜忌让这间小屋变得比外面的荒原更危险。他们拼命想重建文明秩序，但食物在减少，彼此间的猜疑与恐惧却在疯长，每张脸上都刻着“下一个死的会是谁”。 这部1951年的科幻片没有特效奇观，全靠黑白光影和逼仄的室内空间营造出毛骨悚然的孤立感。适合喜欢《十二怒汉》式室内心理剧、对冷战核恐慌历史感兴趣的观众，以及那些愿意在压抑中反思“幸存”真正代价的人。导演Arch Oboler用极简的布景和有限的角色，营造出一种近乎舞台剧的封闭窒息感——核战后的荒原几乎全靠台词和演员的微表情撑起来。

Post-nuclear-war dramas centering on a small group of survivors now constitute an entire genre in science-fiction films. All of them, in some way or another, can be traced back to this seminal film from 1951 in which five people deal with the possibility they are the only human beings left alive on the planet.　　While most of the later movies exploited this possibility for B-movie thrills, Five adopts a quiet, contemplative tone which some may find dull but which thoughtful viewers are more likely to find, for want of a better word, haunting. There is something about this movie which gets under the skin and which lurks in the corners of the mind long after it's over.

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