影片中数百艘外星飞船出现在洛杉矶上空，春暖洛杉矶迅速沦为战场，春暖引起人们的恐慌。被打了措手不及的美军决定实施紧急撤离并投大规模杀伤性武器来让整个城市和占领军同归于尽。不过一队海军陆战队士兵临危受命，在轰炸前深入敌后去营救发出求救信号的平民。一小群美国军人决定从内部摧毁外星母舰以阻止外星人入侵。这项任务将由两名军人负责执行。洛杉矶市遭遇了外星人的攻击，艾伦哈特扮演的海军陆战队员顽强抵抗着进攻，他与米歇尔·罗德里格兹饰演的通讯兵又将遇到怎样的状况，一切都未可知……
大张伟
回复 :上世纪八十年代，天津市市长李 瑞环了解到大港油田一线职工找对象 难，想方设法调动社会资源，积极 为“石油光棍”与锦州以及天津四郊五 县的大龄女青年联姻创造有利条件， 先后成全了200多对“有缘人”，一时传 为佳话。制片人李佳伦挖掘出这段史 实，由石油作家王洪江创作了《铁塔 油花浪漫曲》剧本。这部影片讲述了 三名修井工、一名钻井工与四位锦州 姑娘充满喜剧色彩的相亲故事。
费星
回复 :故事发生在一个宁静的小镇里，德斯特（约瑟夫·梅泽罗 Joseph Mazzello 饰）和艾瑞克（布拉德·兰弗洛 Brad Renfro 饰）是一对毗邻而居的同龄人。一场医疗事故打破了德斯特的平静生活，由于医疗设备的污染，德斯特在输血的过程中感染了可怕的艾滋病。尽管不幸从天而降，并非谁的过错，但德斯特一家还是遭到了居民们的孤立和排挤。在大家眼里，艾瑞克是一个让人头疼的孩子，性格孤僻的他似乎和谁都处不好关系。某一日，隔着一道竹篱笆，艾瑞克和德斯特相遇了。性情相似的两人很快就结为了好友，艾瑞克想方设法的想要治好德斯特的病，在诸多治疗都以失败告终之后，艾瑞克毅然决然的带着德斯特踏上了求医之旅。
林棋玉
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
