剧情简介
青青青青青青青色
青青青青青青青色
青青青青青青青色
叶瑷菱
回复 :凌靖（黄晓明 饰）连续四年成为香港警察狙击手队伍的第一神枪手，上司与队友对他赞赏有嘉，可自视甚高的他却不大喜欢跟人家打交道，他唯一的幸福就是太太的陪伴。一次剿匪行动中，凌靖失手打死人质——城中首富独子。富商向警察部不断施压，最后凌靖被判误杀入狱四年。自从凌靖离开，原来警队第二的克明（任贤齐 饰）成为了最强的一个，当年正是他做假证害凌靖入狱。凌靖发誓要向出卖他的警队和克明报仇。O仔（陈冠希 饰）是警校的高材生，枪法如神、用枪技术一流，很快被克明招揽加入香港警察狙击队队伍。在听说在凌靖的故事后对他感到好奇，在偶然的机会下遇到凌靖并得到指导，成为朋友。凌靖频繁挑衅警队，引得整个狙击手队伍出动围捕他。凌靖拼死力战，独战警队。怎料，克明以自己作饵，加上O仔的助攻，让他不慎暴露了位置。最后，到底哪方会胜利？而凌靖又可以为自己找到应有的公平吗？
收音头乐队
回复 :I remember searching for "Indian Fetish Cult",supposedly bizarre piece of sleazy HK horror with Amy Yip.I strongly believe that it was a cleverly manipulated IMDb hoax just like "sLaughterhouse II",but "Blood of an Indian Fetish Cult" actually exists.A cult of Chinese who idolize American Indians retreat to the wilderness for weird sex rites including some inept hardcore sex an...
罗时丰
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.
