改革开放之初，一辆卡车开进与世隔绝的山寨，带来了关于山那边的消息。一份印满城市照片的画报，点燃了两个少年对于美丽城市的憧憬。短暂的假期，强生和福来两个少年决定要翻过大山，去看看山外面美丽的城市，自此他们开始了一段神奇之旅。途中，他们遇到了逃婚的女人晓娅（于娜 饰），三人一起上路。经历重重阻隔，他们终于到达了城市，晓娅也要坐火车回遥远的北京去了，这时晓娅的丈夫却突然出现要抓她回去。原来晓娅是从北京来的知青，迫于生活嫁给了村寨的农民。可是晓娅却始终不能忘记遥远的北京，在拿到返乡证离掉婚之后，她义无反顾的坐上了开往北京的列车。城市里的生活总是那么光怪陆离，让人摸不着头脑。他俩遇到了从村寨出来的青年龙建国（张涵予 饰），戴墨镜穿风衣的龙哥看起来不像个好人，他的脸上始终挂着显露出不易觉察的惆怅。龙哥对他们很好，不仅给他俩买了新书包，还要送他俩回家。后来，福来留在了城里的孤儿院，强生回到了美丽的村寨……
回复 :七月毕业季，人生中最美好、最热烈的夏天，每个年轻人都抱着对未来的茫然尽情狂欢。热爱自由、特立独行的顾悠悠（张予曦饰）热爱街舞，在老妈（黄小蕾饰）的期许下学习着芭蕾舞，在每个人的青春时代，有彷徨也有热血，但都面临最终的选择，在男朋友毛雪山（黄景行饰）的鼓励下，顾悠悠决定跨出追寻梦想的那一步，拒绝了中央芭蕾舞团的邀请……亲情、爱情、梦想的激烈冲突，让毕业季的夏天热闹非凡。
黄鸿升
回复 :故事发生在1978年，12岁的男孩大卫（乔伊·克莱默 Joey Cramer 饰）在意外之中坠入山谷，失去了意识。醒来后，大卫回到了家，却发现眼前的一切已经物是人非，原来此时的时间已经来到了1986年，这也就意味着，12岁的大卫需要面对的，是八年后的未来世界，在大卫昏迷期间，究竟发生了什么？大卫好不容易找到了失散的家人，当初比他小四岁的弟弟杰夫（Matt Adler 饰）如今已经长成了大男孩，而大卫却还是12岁的模样。之后，一艘外太空飞行物降落地球，而它的存在和大卫遇到的难解之谜有着千丝万缕的关联。于是，太空总署找到了大卫，希望他能够协助调查此事。
回复 :In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.imdb comment
