温柔杀人者的记录

　　Beautiful half-breed Pearl Chavez becomes the ward of her dead father's first love and finds herself torn between her sons, one good and the other bad.

　　对于女孩斯蒂芬妮（凯瑟琳·海格尔 Katherine Heigl 饰）来说，最近的日子可不好过。失业的生活让她囊中羞涩，与此同时，她唯一一辆之前的敞篷跑车也被讨债公司在不久之前收走抵债了。面对严峻的现实，斯蒂芬妮不得不走上街头找起了工作。
　　在表兄维尼（派特里克·费斯克勒 Patrick Fischler 饰）的介绍下，斯蒂芬妮成为了一名保释官，保释官这个职业可不好做，为了能够胜任，斯蒂芬妮接受了严格艰苦的训练。不久，斯蒂芬妮的第一个任务出炉了，她的客户是一个叫做乔（杰森·奥玛拉 Jason O'Mara 饰）的警察，后者被卷入了一起谋杀案中。要命的是，这个乔不是别人，正是斯蒂芬妮的前男友。旧爱近在眼前，除了要应付层出不穷的状况外，如何处理他们之间的感情成为了斯蒂芬妮最首先要解决的问题。

　　因远在阿富汗的爷爷生病，和平（法赫德 饰）的爸爸委托生意伙伴胜利（李嘉伟 饰）的父母楼大明（赵卫东 饰）、陈丽（黑雯丽 饰）送和平上飞机。在等待飞机的过程中，他们突然发现和平不见了。原来，和平怕离开义乌后，就不能再回到中国特别是义乌了，就躲了起来。后来，他被胜利找到了。听完他的心思后，胜利决定帮助他完成心愿，就偷偷将他带回自己的家，藏在自己睡的房内。
　　至此，影片出现两支寻找队伍，一支由班主任、和平的同班中外同学组成，一支则由胜利的父母组成。在躲和找之间，和平在胜利的带领下，领悟到义乌这片土地的人文底蕴———诚信，并跟胜利和其他中外同学生产深厚的友谊。

　　唐伯虎以逃避相亲对象陆小姐而四处流浪，却在途中对秋香一见钟情，化身家仆华安追至华府。才华横溢、风流浪漫的伯虎成功地引起秋香的注意，二人感情逐渐升温，却碍于府内规矩不得不小心行事。另外三位才子祝枝山、文征明、周文宾不得伯虎音讯，遂踏上寻找伯虎的旅途。遭唐伯虎羞辱的陆小姐为了向其讨个公道，便女扮男装随三大才子一同行动。陆小姐与文征明由于一个误会而成为“冤家”。在一行人的历险过程中，陆小姐逐渐发现文征明斯文儒雅、富含才气，对其产生好感。同时，文征明也对陆小姐暗生情愫，二人逐渐暧昧起来。然而，文征明始终以为陆小姐是男儿身，不敢踏出那一步。两班人马终于相遇。三位才子设计助力唐伯虎成功“点到”秋香，表明真实身份的陆小姐也与文征明喜结连理。两对佳人拜堂成亲，四大才子团圆重聚！

　　巴豆（杜维瀚 饰）是一名经验丰富的律师，为了替自己的委托人赢得无罪判决不择手段，甚至不惜去触碰法律和道德之间的灰色地带。虽然巴豆的业绩辉煌，但在业内，他的口碑其实十分糟糕。巴豆有一个困扰他许久的毛病，那就是一到晚上十二点，无论在干什么，他都会陷入昏睡之中。
　　巴豆的姥爷去世了，葬礼定在2月14日情人节那一天。在葬礼上，巴豆遇见了名为白羽（郝泽嘉 饰）的女孩，巴豆一直痴痴的暗恋着白羽，但白羽显然对油腔滑调的巴豆退避三舍。一场意外的发生让巴豆发现自己竟然被困在了2月14日这一天，只要一过了午夜十二点，时间便会重置。

　　迈克（保罗·吉亚玛提 Paul Giamatti 饰）是一名小镇律师，在帮一位老年痴呆症老头里奥（波特·杨 Burt Young 饰）打监护权官司时，阴差阳错自己成了里奥的监护人。光照顾老头还不够，里奥的外孙凯尔（阿历克斯·夏夫尔 Alex Shaffer 饰）又不期而  至，他因为和吸毒的母亲不和来投靠外公，迈克一家只好收留他，并安排他到附近高中念书。迈克同时还兼任该所高中摔跤队教练，很快发现凯尔是个很有天赋的摔跤手。局面似乎很“双赢”，里奥和凯尔得到生活上的照顾，迈克的队伍里多了个主力，每个月还有1500元监护收入补贴家用。
　　但平衡因为凯尔母亲辛迪（梅兰妮·林斯基 Melanie Lynskey 饰）到来而打破，她想夺回里奥的监护权，母亲来了，凯尔也没理由再和迈克一家生活在一起，但只有凯尔明白，他母亲对他和祖父丝毫没有关爱，一切目的只是祖父的钱…

　　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.

　　本功夫片由罗马导演，讲述「通臂拳」第三代传人万天行(侯朝声饰)与三位门徒王福春(惠天赐 饰)、张天寿(熊光饰)及陈六吉(吴元俊饰)，无故被马占天(关东饰)欺凌，师徒俱败于马拳下。三徒悲愤填膺，矢志替师父泄耻洗辱，乃分别寻找名师学艺。结果，张获豆腐小寡妇传授「 连环穿心腿」、陈拜师跛脚老乞学得「还魂饱鹤」绝招、王则随渔翁练就超拔武功。半年后，万寿辰之日，三徒联袂回归，约定马一较高下……

　　This 1992 Japanese film tells the story of a scientist who sets out to create the new "super Adam and Eve", humans who cannot be controlled by their emotions. Of course, the end result it not exactly what the good doctor expects.
　　comments from imdb:
　　This modern tale of an attempt to build a creature is one of the best "horror" films ever made, even if its not a horror film but something else entirely. Certainly its on my short list of all time great films.
　　This film was introduced to me by someone who told me "I have this film that probably one of the best films you'll ever see. It will move you and touch you and make you think, but if I told you what it is and told you how its done you will think its the stupidest thing on the face of it and you won't watch it." Intrigued I asked what did he mean, and he said, "Well its a Frankenstein story, with a very goofy sort of edge, but which uses it to its advantage." My ears perked up, and I being a trusting soul took the tape and watched it. I was blown away.
　　The plot concerns a mad scientist attempting to make a new Adam and Eve in the wake of a suicidal plague that is ravaging the world. Locked up in his lab his experiments go differently then either he or we expect. Some of it is silly (The bolts in the neck, the wrestling moves...), all of it is touching and thought provoking.
　　I can not recommend this movie enough. If you are willing to take the film on its terms and allow it to tell its story then I urge you to seek this film out and see it. This is an undiscovered gem that will stay with you forever.
　　15 out of 10 and then some. 10/10
　　Also known as "The Last Frankenstein", this is an extraordinary, impeccably produced horror film. Director Takeshi Kawamura uses Mary Shelley's novel as a mere launching pad for an exploration of subjects as diverse and fascinating as the nature of love, desire, suicide, mass hypnosis, sex, alienation and jealousy.
　　And though the film is dense with subtext, it is also stunningly photographed and rich in atmosphere and detail. The performances are all amazing and Kawamura's sensitive handling of the strange, delicate relationships between the characters results in an emotionally charged, angst-ridden tragedy.
　　The scenes of the confused, troubled monster hurtling through a fog-shrouded forest at night are memorable and striking, as is a brilliant home movie-style montage of the film's more curious characters enjoying a precious afternoon at the beach. Kawamura creates resonating visual poetry of horror and sadness barely sighted since Todd Browning's classic "Freaks".
　　Intelligent, emotional, tragic and real, this is an absolute gem. 9/10

　　An American tank gunner with a dark secret travels to South America in search of Nazi war criminals.