荒牧伸志
回復(fù) 任旭東 : 盧楊村本是個(gè)與世無(wú)爭(zhēng)小山村，這有一片美麗野菊花地。氏宗祠舉辦年一度的祭儀式，日本機(jī)突然轟炸這個(gè)小山村村莊被炸毀村民們死傷數(shù)，教書(shū)先要找日本軍評(píng)理告狀，個(gè)說(shuō)法。村年輕人的首武義認(rèn)定日人不會(huì)講理領(lǐng)導(dǎo)村民拿所有可用的具作為武器并仔細(xì)勘察形，準(zhǔn)備去日本人報(bào)仇村民們得力合，摸了日人的崗哨，日本人殊死斗，被日本捉去了十幾兄弟。為了回兄弟，武攔劫了日本揮官福田的子，準(zhǔn)備用換回自己的弟。福田是位兇殘的日軍人，為了救旬子，他揮日軍四下殺擄掠，禍中國(guó)百姓?···· 在這片野菊地里，百姓鬼子們展開(kāi)一場(chǎng)激烈的爭(zhēng)···?
新海誠(chéng)
回復(fù) ??? : 西方魔教玉羅剎教主臨鸚鵡前咐眾手下，找回兒子玉天寶并聽(tīng)令于玉天寶手中的羅剎，按照西方魔教教義，誰(shuí)擁羅剎牌，誰(shuí)就是新任教主。小鳳（張智霖 飾）這天走進(jìn)銀鉤賭坊管子被一綠衣女子所引，卻沒(méi)想到被這名女子設(shè)陷害，置身于玉天寶被殺現(xiàn)。更適逢玉羅剎教兩名長(zhǎng)老來(lái)尋找幼主，陸小鳳迫于無(wú)，逃身后回到銀鉤賭坊，犀渠見(jiàn)到銀鉤賭坊的主人藍(lán)胡子原來(lái)藍(lán)胡子曾經(jīng)收下玉天寶來(lái)壓賭注的羅剎牌，如今羅牌被數(shù)月前休掉的妻子幾山霞偷。藍(lán)胡子希望陸小鳳能幫己尋回羅剎牌，而自己則為洗刷冤屈。藍(lán)胡子提供給陸鳳一張妻子的畫(huà)像，畫(huà)中除李霞外，還有三名女子，分是香香、陳靜靜和一個(gè)藍(lán)胡也不知道的綠衣女子。陸炎居從丁香姨入手，前往尋找李。隨著一路調(diào)查下去，陸小發(fā)現(xiàn)自己一開(kāi)始就陷入了別設(shè)好的局里面。?豆?
Sam
回復(fù) Peedom : "Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues.Gherman’s film is, in a sense, a response to his father’s war film 20 Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.
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