剧情简介
哈威·凯特尔、喜气连姆·麦肯泰尔、喜气杰尼娅·塔纳瓦加盟新片[不久再相见](See You Soon，暂译)。影片由大卫·马赫毛迪亚首执导筒，讲述一个美国足球运动员因在2018年世界杯预选赛时受伤而无意间开启了一段浪漫情缘。片方称这部现代灰姑娘的故事是[风月俏佳人]与[金玉盟]的结合体。
喜气洋洋（都市战婿）
哈威·凯特尔、喜气连姆·麦肯泰尔、喜气杰尼娅·塔纳瓦加盟新片[不久再相见](See You Soon，暂译)。影片由大卫·马赫毛迪亚首执导筒，讲述一个美国足球运动员因在2018年世界杯预选赛时受伤而无意间开启了一段浪漫情缘。片方称这部现代灰姑娘的故事是[风月俏佳人]与[金玉盟]的结合体。
金东旭
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.
栗锦
回复 :埃德尔兹·瑞辛是一部激动人心的科幻爱情小说，讲述了跨国公司埃德尔兹公司在不久的将来对半人马座阿尔法进行的开创性太空任务。埃德雷兹招募了一名在新改革的未来苏联受训的斯拉夫宇航员米卢，并与尼曼尼（Nimani）一同前往，尼曼尼是一名女性机器人，旨在满足他的任何愿望。
池赖广
回复 :一九八八年十二月七日于苏俄亚美尼亚（Armenia）西北部斯皮塔克（Spitak）发生芮氏规模六点九级大地震。50岁的俄罗斯人Konstantin Berezhnoy和28岁的亚美尼亚人Robert Melkonyan一起拯救绝望的幸存者。
