剧情简介
一部以江陵为背景，哆啦讲述为了自己的利益想要霸占江陵的混混们的故事。
哆啦a梦小本子福利
一部以江陵为背景，哆啦讲述为了自己的利益想要霸占江陵的混混们的故事。
童芷苓
回复 :刚出狱的聂子华（吴启华）往深圳接人蛇落港，为一神秘女郎Amy（符钰晶）情诱，聂不能自拔。Amy旋即失踪，令聂难舍不已。聂所接的乃前身女武警章玲（王玮），与聂性情不合，但却在聂为她疗伤过程中发生了关系，玲对聂情根深种，可惜聂却无动于衷。炭哥（黄光亮）以前为聂的大佬，生性乐观，很替玲不值；而聂却一直追寻神秘女郎，因而多方面接近玲。聂终于找到了Amy，原来Amy是江湖大哥秋哥（江华）的情妇，性格反叛，多次玩弄爱情游戏，并用激将法来引聂追求自己。聂不惜对抗秋哥一伙人而去爱Amy。玲惟有伤心地离开聂，帮助炭哥重整酒廊，炭哥不敢去爱，只恼聂对玲无情无义，后还迁怒于Amy。秋哥终于找聂及Amy晦气，聂才知Amy玩弄爱情，悲愤之余欲杀秋哥，却被Amy举枪打死，玲知悉聂惨死，联合炭哥往找Amy报仇，众人斗得死去活来。
区瑞强
回复 :Captain Fedor Volkonogov is part of the law enforcement system. He is appreciated by the commander and respected by colleagues. But the moment comes for Captain's life to take the abrupt turn - he is criminally charged. Captain manages to escape prior to the arrest turning in a split of the second into prey hunted down by ex-colleagues. At night Fedor receives the warning from the afterlife that he is destined for Hell and eternal torments. Though Captain still has a chance to change the destiny and be accepted to Heaven under condition that he repents and at least one person grants him sincere forgiveness. Fedor sets on a mission to find absolution without idea of the trials he is to face on this route.
珍梦海
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.
