苏格兰爱丁堡，亚洲雷登（伊万·麦克格雷格 Ewan McGregor 饰）、亚洲土豆（艾文·布莱纳 Ewen Bremner 饰）和病仔（约翰尼·李·米勒 Jonny Lee Miller 饰）三个青年过着混沌糜烂的生活，他们吸毒、滥交、诈骗无所不作，而在如此肆无忌惮挥霍青春的过程中，毒品成为一切万恶之源。雷登对之亦爱亦恨，试图戒毒却最终重蹈覆辙。在一次纵情狂欢后，他们三个不知谁和少女爱丽森（Susan Vidler 饰）所生的婴儿死去。以此为开端，噩梦真正降临。土豆抢劫时锒铛入狱，雷登吸食毒品过量被送往医院抢救，后被强制戒毒。恐怖的幻觉和心底生气的恐惧迫使他不得不和毒品一刀两断。看似美好的新生活，但往日狐朋狗友贝格比（罗伯特·卡莱尔 Robert Carlyle 饰）等找上门来，再度给他带来无限的烦恼……本片根据欧文·威尔士（Irvine Welsh）的同名小说改编，
邱暐议
回复 :Jo Yang, a celebrity radio guest, receives a phone call while on air and sets in motion a series of events that threaten her life and her family. Forced to choose between saving a prostitute or a loan-shark, her choice is confronted by public outcry. This film is loosely inspired by real-life events in Singapore, and explores how it is more choice rather than chance that shapes our lives.
胡启荣
回复 :康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游客纷纷下山，取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp.Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
潘柯夫
回复 :二战即将结束时，忠厚老实的中国老百姓杨玉福（富大龙）被苏联红军从日本人的屠刀下救出。向后方转移的路上，苏军误入日军军营，一场激战过后，杨玉福和女军医娜佳（安娜•捷尼拉洛娃）逃进林区，碰上与日军失散的少女秋叶子（前田知惠）。由于一直被灌输军国主义思想，秋叶子一心要置杨玉福和娜佳于死地。几次险境过后，娜佳无法忍受秋叶子的作为，让杨玉福杀了她，但后者不忍下手。茫茫林区里，语言不通的三人经过一系列磨难，渐渐产生情谊，秋叶子意识到自己之前行为的荒谬，展露出纯真一面。然而，欢笑只是暂时，战争并没将他们遗忘，悲剧在不久后发生。
