剧情简介
女孩When a malevolent force takes hold in the kingdoms of Agonos, a lone knight must embark on a perilous quest to find the last dragon, and save the world from this great and growing evil.
女孩帮2014
女孩When a malevolent force takes hold in the kingdoms of Agonos, a lone knight must embark on a perilous quest to find the last dragon, and save the world from this great and growing evil.
牟青
回复 :秋穗巧（中村狮童饰）的妻子槚田泠（竹内结子饰）一年前去世，便和6岁的儿子佑司（武开证饰）过着相依为命的日子。妻子临终前跟他们说，翌年的雨季便会跟着雨点回来看他们。儿子深信母亲会在这个时候回来他们的身边，虽然秋穗巧知道这是一件很荒唐的事，却不忍心向儿子说。雨季如期而至，父子竟然真的迎来了“重生”的泠，泠虽然失去了所有的记忆，就连自己的身份都不清楚，但她还是像以前一样无微不至的照顾父子俩。可雨不能总是下，雨季也有了结束的一天……
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.
孙家鹏
回复 :倒霉到家的小青正在破旧的出租屋仰天长叹悲苦人生，屋门被踹开，她的债主陈姐来逼债。走头无路的小青为摆脱当前的困境，无奈接受了陈姐交给她的一项任务——以第三者身份拆散总裁沈瑜与孙晓婷的婚礼。于是小青开始锻炼自己的女人魅力，并准备计划诱惑沈瑜。岂料，小青才刚刚准备开始实施这一计划，却因醉酒上错了沈瑜的车，而小青错把沈瑜当成了司机，酒后将计划全部告诉了沈瑜。而机智逗比的总裁沈瑜，并没有揭穿小青，而是将这一乌龙顺势展开，故意看小青的好戏。在一系列的乌龙事件之后，沈瑜渐渐发现小青是一个善良的女孩子。而最终一场误会，让小青知道了原来身边的司机就是沈瑜，认为沈瑜欺骗了她，伤心的小青离开了沈瑜。沈瑜追寻而去，在发现真实的小青过程中，也越来越发现自己内心真正想要的爱情…
