战犬出击

　　Based on the best-selling novel by David Guterson. After losing his wife of many years, retired heart surgeon Ben Givens learns that he has cancer and takes his beloved dog back to his boyhood home in Eastern Washington, determined to end his life on his own terms. Ben's journey, though, takes an unexpected turn, and soon becomes an adventure that shows him the way back to love and connection.

　　这部震撼人心的纪录片讲述了一名乐天的流浪汉如何在网上爆红，又如何一落千丈并最终入狱的故事。

　　马特·富兰克林（托弗·戈瑞斯 Topher Grace 饰）刚刚从麻省理工学院毕业，然而他却似乎并不想遵从父愿进入金融界，而是选择了在一家音像店里打工，同时思索着自己究竟想要做什么。直到一天，马特高中时代暗恋的女生拖丽（泰莉莎·帕尔墨 Teresa Palmer 饰）偶然走进他的音像店，并邀请他参加一个劳动节聚会，聚会恰巧是由马特的妹妹温迪（安娜·法瑞丝 Anna Faris 饰）和她男友举办的。聚会上，马特发现原来温迪并非那么喜欢男友，昔日朋友也都各自面临人生的危机。这些怀揣烦恼的少年们不约而同地决意在今夜抛开顾虑放肆欢愉，然而今夜之后，几个年轻人的命运竟也开始交缠在一起……

大学毕业前夕，那兰朵频频收到神秘邮件，从而得知远古时期猫王国关于上古神器——猫族圣器的传说。她无法抑制对神器的向往，决定要找到它。 于是，那兰朵邀约其他三位同学——高度近视的画家萧尘、舞者小艾以及摄影师阿劲一同前往一座名为“遗忘天堂”的废弃仓库完成各自的毕业作品。 极具神秘气息的仓库令四位大学艺术生惊喜不已，他们犹如置身天堂。然而，当小艾情不自禁在机床上表演了一段舞蹈，不可思议的惊变便接踵而至。 从昏迷中醒来的萧尘莫名其妙失去记忆，他不仅把小艾当成自己的女神并要将那兰朵和阿劲暴力驱逐出去！小艾被萧尘的癫狂吓坏了。她决定马上结束这次旅行。可是，大家这时才发现，仓库铁门已被反锁，没有人能够出得去......

　　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.