内容简介
嘉辉(张达明饰)特别懒惰,自己想改变这些惰性却无法实现,终于被上司炒鱿鱼,只能在儿时好友俊伟(王荧欣)的照料下度日,在嘉辉28岁生日那天,嘉辉独自坐在餐厅等俊伟时幻觉;看见自己惨死于枪下!果然,餐厅中突然有黑帮火拼,如预兆一样,子弹射向嘉辉,却自动改变方向射向俊伟,俊伟遇害,嘉辉的“不死能力”不断发生,每次都看见自己意外惨死,而每次惨死的都是他身边的人。连俊伟遇害后一直照顾他的方婶(罗兰饰)也不能幸免。这令他陷入无比痛苦之中,痛失好友的嘉辉尝试自杀,却不能伤着自己,遇见性感女郎马碧华(李蕙敏饰)后,艳遇不断。 马碧华努力劝说嘉辉去医院检查一下这种怪现象,但嘉辉认为是无稽之谈,然而,接触他的人接连惨死,周围的人陷入一片恐慌。
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◎4.6▶小龙虾游山庄
安小龙一个人来到一座大城市寻找自己的师兄,可惜中途丢失了钱包,身无分文的他到处寻找工作,机缘巧合之下,他来到山庄当起了服务员并认识了梦琪,可惜安小龙在服务部受山庄的保安队长陷害,安小龙大受刺激离开了山庄。 后来安小龙偶遇一位导演 ,安小龙的武功让导演看中,导演派助理张影帝跟着安小龙,导演给张影帝下命令,务必把安小龙给劝回来。 张影帝成了安小龙跟屁虫,安小龙去哪,张影帝去哪,结果他们闯入一个犯罪现场,并且很巧合的拿了犯罪团伙最重要的箱子。之后张影帝打开箱子才知道,对方在交易非法的古董,安小龙要报警,张影帝不让。说等拿到证据,人赃俱获再报警,安小龙同意了。 经过一番周折,安小龙发现幕后老板武哥竟然是自己的师兄,安小龙为了正义,把武哥打得节节败退,安小龙义正言辞的教训武哥,说当年一起练武,为了匡扶正义除暴安良的信念哪去了、最后,武哥被打醒了,他认识到了自己的错误,他觉得对不起师傅,后悔至极,然后自首了。 最后,安小龙和梦琪再次相遇,梦琪挽留安小龙,安小龙留在了大城市,梦琪想让安小龙继续教自己功夫,他们成了一对恋人。
◎7.8▶爱情与遗产
在命运的驱使下,一对赤诚向上的年轻人相隔十年再度邂逅。眼科女医生韦伟与海军战士钟海彼此心中萌生好感,他们通过书信交流心声,爱情的花朵恣意绽放。谁知一场意外却强加给他们残酷的考验,钟海的双眼在某次演习中受伤,他认为自己终将失明,为了不拖累韦伟,钟海决定忍痛和女友断绝关系。而韦伟恰好是负责给钟海会诊的医生之一,她向父亲坦白了这段恋情,最终得到父亲的理解和支持。 另一方面,韦伟的弟弟韦佳则与如孔雀一般骄傲的芭蕾舞演员韩莎莎周旋往复,他们的恋爱则蒙上了一层浓重的铜臭味,美好的爱情受到无情玷污……
◎6.1▶人生是一场抗争
影片背景设置在1943年。乔布与洛萨是一对年迈的犹太夫妇,他们收养了一名非犹太人男孩,并且试图用他们的财富和学识骗过纳粹,逃避对犹太人的迫害。 这片是1984年第54届奥斯卡外语片匈牙利参赛作品,并获得最终提名(当届获奖者为《芬妮与亚历山大》)。
◎8.9▶帕尼帕特
Third battle of Panipat which took place on 14 January 1761.Between Marathas and King of Afghanistan, Ahmad Shah Abdali.
◎9.3▶不安分的年轻人们
Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
◎8.6▶逆鳞2024
大哥尊非(沈腾 饰)带领一帮兄弟投靠富商大佬,凭借自己的手段在这个机遇与杀机并存的城市混得风生水起。就在尊非以为“钱”途一片光明之际,游走于名利场中的美人老板苏笑(张雨绮 饰)蠢蠢欲动开始筹谋更大的利益,看似置身事外的富商大佬黄朝晋(高捷 饰)也逐渐露出真面目......阴谋背叛、权利纠葛,过命的兄弟为何反目成仇?在极恶与道义的两端,尊非将如何为自己、为兄弟杀出一条血路?
◎9.9▶夜间来客
15世纪一座巨大的白色城堡里,正在举行盛大的节日庆祝会。魔鬼派遣他创造的人混在杂技艺人当中。在这个却是很美的开始场景中,服装师,演员们和音乐师全都沉醉在法国传统中,他们都以一种完美而准确的风格重现古代细笔画中的人物形象。在这个开头场景以后,在中古时代的服饰下,编剧和导演所表现的世界一直没有变化。但他们的论点发生了改变。影片一方面表现的是善良人,被爱情变得圣洁的人——则那位吟诗人和年轻的领主夫人,另一方面是魔鬼亲自率领的那些邪恶的人,魔鬼在这里同命运混成一体。 本片受到了最热烈的欢迎。卡尔内原想把这部神话故事放在当前的时代中来演出。后来,由于慎重考虑,他把时代背景改为迷信魔鬼与巫术的中世纪。原来剧作者的心目中,魔鬼是希特勒的形象。但在影片中这一影射却很难看出来。魔鬼使用妖法,把那些情人化成石像,伫立在喷水池旁,池水反映出骑士们比武,邪恶获得胜利。但是那对被链条锁住,受尽折磨的情人,最后还是不顾一切地聚会在一起,他们的心在石像里面不停的跳动着。人们可以看出这正是被囚禁的法国形象、在卡尔内和普莱卫的影片中,人们第一次看到命运与邪恶无力征服爱和善。
◎8.9▶长白·灵蛇传
讲述了女娲宫神尊五百年前为救一条小白蛇被贬入凡间,变身百草轩医女白靖瑶(郜思雯饰),邂逅千年蛇仙柳龙庭(蒙恩 饰),二人订下同修契约,携手降妖除魔,展开了一段刻骨铭心的虐爱故事。
◎7.7▶马克·费尔特:扳倒白宫之人
马克·费尔特是美国联邦调查局前副局长,在二十世纪美国最大政治丑闻“水门事件”中,他向《华盛顿邮报》记者披露了对尼克松总统不利的线报,从而导致尼克松下台。当时他没暴露自己的身份,只是以一部热门色情电影的片名作为自己的代号,也就是“深喉”。直到2005年,马克·费尔特才承 认自己就是“深喉”。
◎9.3▶西游外传之大圣娶亲
唐僧师徒取经路上,偶遇私自下凡的精灵神灯紫霞与青霞,二人一正一邪,紫霞去追寻心中崇拜的大圣,青霞却想吃唐僧肉增加法力。一日,唐僧和沙僧都被抓,猪八戒趁机而逃,正在外化斋的孙悟空救了受伤的紫霞,后来发现师父不见,误以为自己受了调虎离山之计。于是,孙悟空开始了佛与魔的较量,一段浪漫爱情故事也从此展开…
◎9.7▶遗恨:明治十三年最后的复仇
据日本的官方记载“最后的复仇”是明治13年12月17日。原秋月藩士臼井六郎跟在同一个藩的东京法院的法官一濑直久因为父母之仇而开始了报复。主张依法治国的明治政府颁发复仇禁制令已经是那之后七年的事了。这部电视剧是根据事实改编,以动乱的社会现实为背景。日本人正在遗忘的是什么,本剧从正面开始了思考…….本剧描述了一个历尽艰辛的年轻人为了给父母报仇的经历…
◎4▶挣扎
一个17岁的女孩和她的父亲一起照顾她的精神和身体严重残疾的妹妹。这越来越让人筋疲力尽,因为她不得不牺牲自己的生命和梦想。情绪失控,爱很容易变成恨。怎么过这样的生活?有没有可能在这里找到一个折衷方案? 一部出色的电影,将那些被迫在这种情况下的人的经历和选择带到了一个可怕的接近,这样做非常现实,没有悲情。只有对这个话题有透彻的了解才能做到这一点。导演玛歌·邦霍姆本人在一个有残疾人士的家庭中长大——她照顾过自己的妹妹。多年来,她一直把这个故事带在身边,现在她用自己的心血书写了这个故事。
