（本片的官方英文翻译有误，应为“Lost on THE Journey”）
I cannot think of a better occasion than Chun Yun to showcase the fundamental realities of China. Every year, around Spring Festival time, the largest annual human migration in the world presents untold stories about home and struggle all at once.
But such good source material hasn't been fully exploited in art until the comedy film Lost on Journey was released this summer, when most people don't need to queue up at railway stations for a ticket home.
From the road movie genre, Lost on Journey concerns itself with a rich businessman (Xu Zheng) as he travels home for the family reunion and, at the same time a dairy worker (Wang Baoqiang) sets out to ask for his defaulted wage before the festival eve, both with the same destination of Changsha in mind.
《人在囧途》是部带有历史必然性的公路电影。说中国每年的春运是全地球最大规模的动物迁徙不足为过。蚂蚁般的中国人如潮水般拥挤在各种交通工具上下。这些人不论阶级高下，身份几何，此时此刻悉数放低架子，放下尊严。他们的目的只有一个——回家过年。有钱人与社会最底层的农民工挤在一节火车厢里的事大概只有在中国春运时比比皆是。如此激烈的社会矛盾和线索的目的性很容易产生戏剧效果。这是《人在囧途》诞生的基础。
《人在囧途》里的两位主人公身份差异巨大。李成功是个在社会上混得人五人六的老板
拿了赠票赶在远行之前跟小拽去看了一场电影。
鉴于国内最近真没啥我想看的片子，于是轻松的诙谐片成了首选。
工作日的下午场，偌大的放映厅只有四个人进入了这一趟实在够囧的旅程，还要在散场的时候发现一位呈大字倒在椅子上的同志，有效人数降为三人。
王宝强和徐峥的组合，首先不习惯的是徐峥的头发，太过习惯他的光头猛得一看他有头发的造型实在有点惊讶。王宝强这一实在太过朴实的形象实在太贴合牛耿的形象，整个片子最囧的其实就是他，笑料也基本是由他带出的。
整体来说，这部片子算是不过不失，笑料不算太够但也不少，但故事情节整个不容易让人太过投入，也可能是因为某人一直在我旁边发短信的原因吧，投入度并不太高。
人在囧途的成功论
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