杰克（艾迪·墨菲 Eddie Murphy 饰）有一张刀子嘴，春暖为了达到目的，春暖他什么样的话都能说得出口。因为这张嘴，他失去了许多的朋友却并不以为意。一日，杰克的诳语得罪了辛加博士（克利夫·柯蒂斯 Cliff Curtis 饰)——一位神秘的宗教领袖，为了让杰克明白自己的缺点，他召唤来了一颗菩提树。辛加告诉杰克，菩提树上有一千片叶子，杰克每说一个单词，就会有一片树叶凋落，当树叶掉光之时，就是杰克的临终之日。突然被剥夺了自由说话的权利的杰克痛苦不已，失去语言的庇护反而让杰克懂得了“谨言慎行”的真正含义，随着时间的流逝，杰克也开始明白，有些话不能乱说，可是有些话却不能不说。
回复 :工人阶级出身的文学青年祖儿（伊万.麦克戈雷格 Ewan McGregor 饰）在驳船主里斯夫妇的船上打工并和夫妇二人一起生活在船上。一天，祖儿在岸边发现水里浮起了一具已经发白的女尸，惊慌的祖儿和里斯捞起了女尸。当晚，祖儿在和里斯夫妇吃饭的时候讲了白天捞起女尸的事情，并对女主人艾娜（蒂尔达.斯温顿 Tilda Swinton 饰）百般勾引，在丈夫身上得不到满足、平日阴沉抑郁的艾娜晚饭后就和祖儿搭上了。祖儿再一次提起了女尸的事情。原来，女尸生前曾是祖儿的情人。随着祖儿的回忆，事情一幕幕揭开……
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.
何韵诗
回复 :阿飞和亮子是一对有侠义精神的小毛贼，一次偶然事件和以豹哥为首的犯罪集团结下仇怨的同时和失散多年的元元重逢，立志走向正途：阿飞亮子为了帮助元元和一些被小偷偷走钱包的病人家属，与豹哥手下在医院斗智斗勇，帮助病人讨回财物的同时受到了豹哥手下的报复，二人各被切掉一根手指，同时阿飞被打成重伤二人养好伤出院后金盆洗手开了一家锁行，亮子在出去做广告牌的时候偶遇豹哥手下，被其打成重伤住院。与此同时，豹哥一伙正在因为没有开保险柜的高手而苦恼，手下九指推荐了阿飞，并且绑架了元元以此要挟阿飞为其开保险柜，最后阿飞与警方合作将豹哥一伙一网打尽。
