影評向來被視為電影作者與觀者之間的溝通橋樑。這個認識使得影評淪為一種溝通模式的「附加」：一旦兩者的溝通沒有問題，影評就成為多餘的存在。然而對於附加，德希達卻提供一種不同的詮釋：他將附加視為創造一種迷途的可能。以此出發，影評或許不應該被視為使溝通順利的協助或指導，而是反過來創造混亂、產生迷途。本文從迷途的概念著手，透過柏拉圖、卡夫曼、德希達等人對此一概念的詮釋，說明影評可以憑藉迷途的創造而引導觀者產生新的思想。此外，本文也嘗試由佛洛伊德的「非家」著手，一方面解釋「迷途」所產生的困惑，一方面也提供打開迷途之境的可行方法。最後，本文分別從觀者、影評作品等方面進行討論，並以兩篇電影評論作為範例，說明影評如何能以他／她作為附加的身份創造迷途，並藉由「非家」所揭露的方式，引導觀者打開新的思想之路。

Generally speaking, the film critic is supposed to be the communicative bridge between the film author and the film viewer. In this understanding, the film critic is the "addition" of the communication activity. Once the communication between the author and the viewer proceeds well, the role of film critic becomes redundant. However, Derrida offers another approach to the concept of addition: addition initiates the possibility of creating an "aporia". According to this thought, the film critic confuses the communication rather than improves it. In this regard, this paper gives an investigation of the concept of aporia in Plato's, Kofman's and Derrida's work, in order to seek how the film critic can generate an aporia, by which it becomes possible to enable the film viewer to develop a new "idea" beyond the control of the film (author). In addition, Freud's concept of "uncanny" will also be introduced to clarify the diffusion caused by aporia on the one hand, and to offer a feasible method of detecting a path/poros out of aporia on the other hand. Finally, following a discussion of the film critic's role from the angles of the film viewer and the film criticism, this paper uses two film reviews to illustrate how the film critic creates an aporia by being the role of addition, as well as how s/he applies the way, inspired by Freud's uncanny experience, to guide a path to a new idea.