一个现代版的灰姑娘故事。珊曼（希拉里·达芙 Hilary Duff饰）在父亲的童话故事中长大，顾先不料却成为了童话中的灰姑娘。父亲过世后，顾先继母和同父异母姊妹的侮辱和亏待，令她的日子过得苦不堪言。她想考取普林斯顿大学，想逃离这个龌龊的小世界，珊曼把她的梦想和苦恼都诉说给一个亲密的网友，他是她心灵的依托，是她的白马王子。万圣节的相见摧毁了吉娜的梦。眼前的网友，竟然是学校里有名的帅哥运动员奥斯汀（查德·迈克尔·墨瑞 Chad Michael Murray饰）。一个是平凡黯淡的女孩，一个是闪亮耀目的男生。幸好吉娜乔装打扮，没被人奥斯汀认出。二人如此不登对，心虚的吉娜落荒而逃，不小心遗下一部手机。就像玻璃鞋被王子拣到之后的故事，奥斯丁拿着手机寻找自己的灰姑娘，而吉娜，却无法相信自己怎会像灰姑娘般幸运。于是这出爱情故事，注定充满曲折而窝心的波澜起伏。
韩春
回复 :李军是双龙镇边防派出所的一名普通的边防军警，妻子向君伟带着三岁的女儿小霞住在乡下老家，长期的两地分居生活，让他把对妻女的爱，转化到所辖居民身上。每天带着刚入伍的新战士孙磊、言传身教，奔波于辖区内几个小岛上的村落之间，为渔民排忧解难。一天傍晚，李军、孙磊向往常一样巡视于熙闹的村街码头，突遇两伙渔民在码头打架斗狠，李军上前制止，却被一醉酒的渔民羞辱漫骂，李军耐心的做大家的说服工作，终于化解了一场械斗。战友孙磊对李军所受的屈辱不能理解，认为军警也是人，凭什么打不还手骂不还口！从此，对边防军警的崇高使命感和荣誉感产生了动摇。刚刚返乡的女大学生张雁，帯着侄儿目睹了李军化解渔民械斗所表现的机智果敢和无私无畏，被这位有容乃大的男人所折服。当小健告诉姑姑，他就是経常照顾他和爷爷奶奶的军警李叔叔时，张雁感激之至，情不自尽的上前道谢……。李军背着他的百宝箱，与孙磊骑着自行车日复一日的穿梭于村头巷尾，只要一进村，自行车的铃声就不间断的响起来，居民只要听到铃声，便开门把需要的用品和捎带处理的物品与李军交换，没有语言的交谈，只有心领神会的默契。他的百宝箱中，什么蜡烛、电池、药品等居民用得着的小物件应有尽有。这一切，让孙磊好奇不已。李军妻子带女儿来队探望，一家人团聚，意想不到的是，四岁的女儿不认识爸爸，竟然叫他“解放军叔叔”，因为李军三年来一直沒休过假。妻子向君伟是位孝敬公婆、相夫教子的好军嫂，长年的辛苦劳累，虽然失去了当年的花容月貌，但在李军心里，她永远是最美的……
回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
百慕三石
回复 :《4ROMANCE ฝัน-หวาน-อาย-จูบ（中文直译：梦想-甜美-害羞-亲吻）》采用今年泰国大流行的4部短剧的方式，由4个不同的导演，4组不同的演员，演绎4个不同的浪漫爱情故事。楚卡导演，PCHY和AUGUST乐团，MARIO等来自《爱在暹罗》的大家喜爱的导演演员也悉数出现在这部大爱影片中。同时在泰国人气超旺的少女偶像สายป่าน Saipan（出演鬼4虐、友谊我和你，Boonchu9）也不出意料成为影片主演，而在《二月》中有著出色演出的ชาคริต Chacrit也将继《0型血》以及《二月》后第三次出演纯爱电影。 版权声明：转载时请以超链接形式标明文章原始出处和作者信息及本声明 httpcopenlee.blogbus.logs28230783.html
