群馬県の遊園地の売店でアルバイトをしている高校3年生の梅田ココアは、中文字幕学校では成績優秀だが、中文字幕家庭は貧しい。共に暮らすギャンブル狂の父・シゲルと、元漫才師でニートの兄・トキオの犠牲者だと感じながら生活しているため、自分の将来に希望が見出せないでいる。そんなココアには秘密が。学校とバイトの合間に、あるビデオ「クラッシュビデオ」に出演しているのだ。当初は、兄の元相方・カズオから無理やり頼みこまれて出演していたが、次第に本人も踏み潰す感触に快感を覚えた。あるときココアは、大学に特待生/奨学金という制度があることを知り一念発起して進学を目指すことに。数少ない友人のサクラは大学への進学を希望、もう一人の友人アイコは年上の彼氏と付き合っている中で妊娠が判明。ココアは2人と過ごしていくうちに自らの将来に希望を見出していく。そんな中、クラッシュビデオの出演が学校にバレて――。
陈小春
回复 :《低俗小说》由“文森特和马沙的妻子”、“金表”、“邦妮的处境”三个故事以及影片首尾的序幕和尾声五个部分组成。看似独立的小故事里面，却又有环环相扣的人和事。盗贼“小南瓜”和“小兔子”在早餐店里打劫，却遇上了天大的麻烦——黑社会成员朱尔斯（塞缪尔•杰克逊Samuel L. Jackson饰）和文森特（约翰•特拉沃尔塔John Travolta饰）在店内用餐，可谓天外有天。二人是否会放过两名小盗贼？而文森特是黑社会大哥马沙•华莱士（文•瑞姆斯Ving Rhames饰）的手下，马沙下命令让他陪妻子一个晚上，明知如有雷池必死无疑，但面对马沙妻子美艳诱惑，文森特该怎么办。文森特的故事还没完，拳击手布奇（布鲁斯•威利斯Bruce Willis饰）的出现将令他的人生从此改变。布奇有一块祖传金表，就是因为这块金表，他和马沙分享了一个耻辱的秘密。故事环状结构，回到开端。朱尔斯在小盗贼面前诵读圣经，表示对杀人的厌倦和感悟。什么事件令他如此转变？“邦妮的处境”中就有答案。
闵庆勋
回复 :影片改编自阿加莎·克里斯蒂的小说《万圣节前夜的谋杀案》，故事发生在二战后的威尼斯，一个怪异的万圣节前夜，本已退休的著名侦探赫尔克里·波洛（肯尼斯·布拉纳 饰）将在世界上最迷人的城市威尼斯里过着安静自得的生活，他不情愿地被邀请前往一座破败阴森的宫殿参加聚会。当其中一位来宾被谋杀后，波洛被卷入了一个充满阴影和秘密的险恶世界。
李宰勋
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
