摸金Years after an alien invasion almost extinguished human mankind, refugee on a secret base on the Moon, three heroes decide to jump into a time travel in the desperate attempt to save the survivors but they don't know that the Sentinel is waiting for them.
颜福伟
回复 :1946年夏天，上海举行第一届窈窕淑女选美大赛，将邀请社会名流作为评审。这次大赛的冠军获得者不仅可以得到丰厚奖品，还将和当红男影星一起，代表上海各界前往各地慰问抗战英雄。消息一经登出，令十里洋场无数年青女子为之疯狂。 富家女孩上官燕与好友金扣珠一起报名参赛，期间她们结识了叶秋心，于是，三人结为好友。历经波折，三人杀入决赛。 然而，随着比赛的深入进行，她们发现这场选美大赛不是一场单纯的比赛，活动背后还有着不可告人的阴谋…… 那么，真相是什么？阴谋能得逞吗？
黄仲昆
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
谷德昭
回复 :第19届全州国际电影节韩国竞争单元话题之作，一个不愿意受伤的男人的不按套路出牌的自由恋爱！既不是朋友也不是男女朋友的俊浩和恩智之间既甜蜜又苦涩的“超真实恋爱记”！“我不太会谈恋爱，我好像跟谈恋爱不太搭”因为不愿意受伤而无法真心交付的男人俊浩如是说；“都不能大把花钱了，至少这辈子得随心所欲点啊”唯有一颗真心的女人恩智如是说。俊浩向恩智提议开始一场不用负责、无需义务的自由恋爱，但却渐渐发现自己对温暖又乐天的恩智渐渐敞开了心扉...
