消失三年的“鬼手”及其盗墓团伙重现江城，影视再次堪舆点穴下墓摸金。怎料，影视四名盗墓贼在开棺之时遭遇惊魂邪煞，逃离墓葬之后又接连惨死家中。古墓“尸毒”和命宫印堂之上的分魂针孔，成为留给警察沈春合仅有的查案线索。看似普通的盗墓案，瞬间扑朔迷离，疑点重重。四人是盗墓太多自食报应丧命，还是分魂针所指的换命转病，遭人蓄意谋杀？盗墓掌眼“鬼手”的神秘身份，更是牵出陈年谋杀警察旧案。沈春合联手法医韩冰，解刨验尸身、下墓取尸毒、棺材店中破邪术、纸扎店里缉真凶。
朱凌凌
回复 :在得奖首作《索尔之子》以破格观点呈现纳粹集中营的人间地狱后，拉斯洛·奈迈施将深焦镜头再推前，凝视一战的世道崩塌。神秘孤女爱丽丝来到布达佩斯，欲在亡父创立的帽子名店求职竟被拒门外，由此开展一趟追寻兄长恶魔幽灵之旅，重回过去，揭开家族的隐藏真相。延续前作风格，长镜紧随爱 丽丝穿梭暗黑时空，聚焦局限观点、狭窄视角，如梦魇般朦胧影像的压迫感袭人而来；以家族老店残留的微光，斜照文明的殒落。
戴伯拉考克斯
回复 :神秘又开放的金三角地区位于印度支那三国交界，是一片三不管的地带。1954年，台湾当局响应联合国决议，下令撤出流落在金三角地区的国军，但是，还是有至少十一万国军及其家属留在了这里。国军参谋范龙（梁朝伟 饰）从俘虏营中逃出，历尽艰难回到国军营地。士兵阿丁（林志颖 饰）亦回归部队，老兵老谢（吴孟达 饰）给予了丧失战友的阿丁兄弟般的关怀。国军贺司令（柯俊雄 饰）与缅方谈判，试图放下武器归顺，范龙施计保存了部分军火，缅方却对国军赶尽杀绝，全赖范龙，国军得以突围而出。然而队伍很快出现了分化，范龙等人投奔土匪，贺司令则带领余部归顺泰国政府，流落在金三角的国军将士，为生存展开了卓绝的斗争……
农夫
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
