上海罗源路110弄，外星早蜘蛛求租公寓里住了四个准毕业生一个新上班族，外星他们拥有不同的家庭背景怀揣各自的梦想。曾经是中考状元的男生周凡，大学学的是水文专业却莫名其妙地反感水利行业，踌躇满志地扬言非联想宝洁不予考虑，在一连串的碰壁之后，偏激地去联想尝试了传说中的“霸王面”，最后终于开始客观地反思自己的定位。珍珠是外表鲜亮的新上班族，宣称“追求嫁个又好又有钱的”是现在女性的高级修养，并以身作则地不断和爸爸级大老板们出入酒吧，看似肤浅地将她的男伴统称为皮特，却不知她心中苦苦压着持续了十年多的父女情痛。杨远和婕宁是整天甜甜蜜蜜的同学恋人，但在找工作问题上出现了矛盾，中产家庭背景的婕宁有父母帮助，是骑着马找马的心态，而农村长大的杨远则是必须在两三个月后自己能养活自己，给父母一个交代，爱情在就业压力现实面前遭遇考验。吴小新，地道的山村孩子，初到上海觉得上海亲戚薄情寡义，又被Q友带进传销窝。后因为电话报警有功被报道为荣誉好市民，加上表姐的帮助顺利地得到了工作。小新对上海和城里亲戚有了新的认知，但成长中的意识形态又陷入另一个小误区。
安迪威廉姆斯
回复 :雷纳德（芭芭拉·贝尔·戈迪斯 Barbara Bel Geddes 饰）从小的梦想就是能嫁给一个金龟婿，做全职家庭主妇，长大后，她和百万富翁史密斯（罗伯特·瑞安 Robert Ryan 饰）相爱，并且最终携手步入了婚姻的殿堂。可是，结婚之后雷纳德才发现，婚姻生活并不是她想象的那么美好，而史密斯也有着不为人知的另一面，雷纳德想要和史密斯离婚。雷纳德离家出走了，她宁愿去做诊所接待员，自食其力，也不愿意再活在史密斯的淫威之下。在诊所，雷纳德邂逅了名为拉里（詹姆斯·梅森 James Mason 饰）的医生，两人坠入了爱河，可与此同时，雷纳德发现自己竟然怀孕了。
卓义峰
回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
潘辰
回复 :万森斯一家（工作狂克里斯蒂安，他的妻子比莉和两个孩子兰加和蒂莫）和大多数家庭一样过着平凡人的生活。四年后，终于迎来休假的一家人决定坐游船游览加勒比海，尽管弗林船长和他那年久失修的破船离他们想象的相去甚远。万森斯一家并不知道，等待他们的将是一次令他们毕生难忘的旅行……一伙海盗强行霸占了船，万森斯一家不得不乘救生筏在海上漂流。最终，他们来到了一个荒凉的，长满棕榈树的小岛。虽然暂时逃出了死神的魔爪，但他们的前景并不乐观。没有住所，没有食物，他们必须想办法在这艰苦的条件下存活下去。这时，从海盗手中逃出的弗林船长也来到了小岛。原本对他怀有戒心的克里斯蒂安渐渐意识到，只有团结才能助他们逃离这个孤岛……
