精诚大医

　　阳光（马丽 饰）经营着一家寻宠事务所，接受委托帮忙寻找丢失的宠物。有天，晓雪（宋佳 饰）找到了阳光，请她找回自己相依为命的女儿娜娜。阳光被晓雪感动，决定出手相助，但没想到“娜娜”竟然是一只五岁的大老虎，一行人开始了一场令人捧腹又惊心动魄的欢乐劫虎之旅。

　　现代科技飞速发展，各种通讯手段越来越先进，极大拉近了人与人之间的距离，也让人们的隐私无处遁形，甚至生命也受到极大的威胁。
　　某高中，近段时间流行死亡连锁信，该信件通过邮件发到他人的电脑和手机上，一经收到应立即转发，否则将有生命之虞。电脑游戏迷内尔·克纳斯（Cody Kasch 饰）偶然收到一封连锁信，他和姐姐瑞秋（凯瑞琳·威尔森 Cherilyn Wilson 饰）玩笑般地发给了约翰尼·琼斯（麦特·柯汉 Matt Cohen 饰）、杰茜·坎贝尔（妮姬·里德 Nikki Reed 饰）、丹特等好友，朋友们也将其视作笑话，或删除或转发，全然不放在心上。然而恐怖居然降临，是夜，约翰尼被人残忍杀害。邪恶变态的锁链杀人魔越走越近……

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.