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红尘影院

新地雷战:神勇小子
大陆国语2014
  抗日战争爆发后的,日军得寸进尺,大肆杀害抢掠我国同胞, 人民恨之入骨, 可惜孤军势弱奈侵略者不得。日军挺进中原,先头部队来到必经要塞:麦家村。  日军队长野田一郎原以为小小麦家村,面对日军金戈铁马,机械化部队,应该束手就擒,就此沦陷。岂料,在最危急时刻, 麦包父亲联络邻村村民,共组游击队,运用硝、硫、木炭自制火药,制造地雷,顽强反抗。一时间,日军屡屡败退,对于麦家地雷,更是闻风丧胆。野田老奸巨猾,决定大肆抓捕中国人,威逼个别懦弱之徒做汉奸,混入麦家村游击队中,里应外合,大破地雷阵机灵敏捷的麦包人小志大,欲与麦父并肩作战,但被父亲制止,认为麦包应该读书识字,将来会更有一番作为。麦包一心报国,跟随爷爷的戏团混入日军所在的梁城演出爱国剧目《精武门》,唤醒人民沉睡的爱国心,不幸被抓。狱中,麦包遇到伪装成大汉奸打入敌人内部的共产党员徐三东。在三东的帮助下,麦包死里逃生,更成为了一名小小小卧底。麦包寻找机会假意向日军献媚,更使出祖传中医绝技, 很快成为野田眼中红人。而此时,野田亦顺利收买村民蔡丁作为间谍混入游击队。至此,卧底对卧底的局面依然产生。  麦爷爷等一干村民被抓后,麦爸爸决定夜晚偷袭日军总部救人,不料这个消息被蔡丁告知了野田。日军决定将计就计,将村民绑在木桩上,换上士兵衣服,而将自己的士兵换上村民的服装,待游击队来到,将其一举歼灭。夜晚降临,麦包现场看到爷爷等人被传上日军军服,不禁着急,而爷爷等村民误以为麦包卖国求荣。麦包内心挣扎。埋伏率队赶到,幸得麦包聪明,攀上城墙,以探照灯闪灯闪出摩斯密码,麦父收到情报,全身而退。野田看到探照灯摩斯电码,心中生疑,麦包嫁祸给队长心腹萧春,萧春背黑锅。  蔡丁再次传出消息,游击队发现火药耗尽,而制作的材料亦不足,决定进日军军营偷火药。麦包和三东里应外合,使出调虎离山计,配合游击队顺利拿到火药。终于拿到了火药,更拿到了日军的地雷,但是,日军的探雷小组奉命来到,麦包再次利用风筝发消息,但是被萧春破坏,野田更是对所有人心存怀疑,拖着萧春,三东,麦包等玩游戏。麦包分身乏术,没法放出消息,麦家村危在旦夕。危情之下,麦包再次以小孩子天马行空的想象力想出一个决定聪明的方法,送出情报,只是,连麦包自己也不清楚,麦爸爸是否能注意到这个情报传送出来的细节,没有别的办法了,就此一搏。  日军纠集人马,有探雷队长龟田带领探雷队探雷,野田不禁得意洋洋。麦包看见龟田、萧春二人在野田面前争宠,施以离间计,使得二人水火不容。二人争抢头功,举帮探雷,不料,麦父早已收到消息,在地里买下破锅烂铁,二人非但没有探到地雷,反而踩到地雷,大呼救命,日军前进,被地雷阵困住,死伤无数。野田只得鸣金收兵,从长计议。野田不甘心屡战屡败,更是因为蔡丁的提醒,得知身边有卧底,开始对所有人都不信任。是夜,野田重新纠结人马,欲趁黑夜偷袭麦家村。更是以爷爷等村民作为先头去踩地雷。爷爷等人视死如归,大义凌然,麦包心里难受,却又无法表现出来。更重要的是究竟用什么方法通知父亲。眼看前面就要进入雷区,麦包忽然再度想出绝世妙计,麦父率领游击队,勇救村民。  野田回到营地,破口大骂,将一直以来的怀疑锁定在麦包,萧春,三东和龟田身上。野田决定将众人带到审问犯人的终极之地——风声城堡。野田对众人分别使出电影《风声》中的各种招数,虽然都以玩笑结束,但是野田“宁可杀错,绝不放过”的抓卧底政策实施之日也越来越紧,麦包和三东决定最后一搏,终被二人逃出生天,但是三东却中枪,麦包发誓一定要替三东和无数被野田杀害的通报报仇,将他们赶出麦家村,将来,更要将所有日本鬼子赶出中国。  麦包回到麦家村,首要任务,找出游击队中的卧底。麦包父子唱双簧,麦父更故意辞去游击队长一职,忍辱负重,暗中找出卧底蔡丁。此时,野田在也没有耐心玩下去,终于使出杀手锏——坦克。野田纠集50辆坦克浩浩荡荡驶向麦家村,要把这里夷为平地。地雷对坦克的大战一触即发!  麦包用地雷出发炸弹,炸毁排在第一辆的坦克。而麦包父亲则拉动石雷,炸毁山体,将所有日本坦克困在麦家村动弹不得。村民投下无数火堆,燃烧自己的屋子,一瞬间,整个麦家村变成了一片火海,坦克收到高温,有的自然爆炸,日兵逃出坦克也着火。看着一片火海,所有人眼中噙着眼泪。  在麦包和父亲的带领下,终于,游击队大败日军,坚守住麦家村,麦家村变成一片欢乐的海洋。

红尘影院

死神假期
美国英语1934
  Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson  If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.  [Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.  To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.  More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.  (Howard Schumann, talkingpix.co.uk)  In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.  (Dennis Schwartz, homepages.sover.net)  I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.  (Dave Sindelar, scifilm.org)  See also the remake: Death Takes A Holiday (1971)

红尘影院

幸运女神
其它其它2019
  當他們愛情陷入危機,命運女神卻吹來生機…  亞瑟和他的男友亞歷山德羅已同居15年,儘管當年天雷勾動地火的愛情正逐漸淡去,但當亞歷山德羅公然在友人婚宴上偷吃,依然讓亞瑟怒不可抑。眼看這段曾經人人稱羨的愛情即將告吹,卻因為閨蜜安娜瑪莉亞的突然造訪,再度吹起了一絲希望…。    在「幸運女神博物館」工作的安娜瑪莉亞,和亞歷山德羅曾是一對戀人,卻主動將男友「讓賢」給亞瑟,三人從此成為無話不談的親暱好友。但當安娜瑪莉亞罹患重症,不得不將一對可愛子女託付給他們照顧時,突如其來「為人父」的重責大任,卻為他們帶來空前的壓力,他們該重修舊好、齊力照顧兩個孩子?抑或該在分手前、婉拒好友這項生命付託?    安娜瑪莉亞的突然離去,終於迫使亞瑟和亞歷山德羅、必須面對這個問題。就在他們決定將這對孩子,交還給安娜瑪莉亞久未聯絡的母親時,卻意外發現了一個驚天秘密…。「幸運女神」能讓彼此相愛的人在一起,曾受眷顧的亞瑟與亞歷山德羅,能和好如初繼續相愛嗎?而安娜瑪莉亞遺愛給他們的這對可愛孩子,又可能如願跟他們永遠在一起嗎?

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