剧情简介
满清入主中原后，全免有讳于汉族民众以武术造反，全免严禁民间习武。少林本也应列禁例之内，但有鉴于寺中弟子皆武艺高强，清廷于是命少林选派弟子，教授八旗官兵武艺。然而有一将军（王龙威饰）深觉少林终乃清廷心腹大患，又不满于其隐匿寺中武僧，仅指派俗家弟子前往授艺，终生挑拨南北少林两家，另双方自相残杀以剿少林之念。
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满清入主中原后，全免有讳于汉族民众以武术造反，全免严禁民间习武。少林本也应列禁例之内，但有鉴于寺中弟子皆武艺高强，清廷于是命少林选派弟子，教授八旗官兵武艺。然而有一将军（王龙威饰）深觉少林终乃清廷心腹大患，又不满于其隐匿寺中武僧，仅指派俗家弟子前往授艺，终生挑拨南北少林两家，另双方自相残杀以剿少林之念。
守护
回复 :露易斯和洛特是一对双胞胎姐妹。由于父母离婚，她们从出生就分开生活，直到在夏令营中相逢后，两人才相认。为了见一下素未谋面的爸爸妈妈，两人交换身份到了对方家中。在感受到不同的亲情后，盼望一家团圆的二人又计划撮合父母复婚。可是这时，不知情的爸爸正打算与另一位女子结婚。情急之下，两人除了想尽一切办法让父母见面，还要与父母的新娘斗智斗勇……本片改编自德国小说家、剧作家埃里希•卡斯特纳（1899-1974）的同名经典之作。
陈乔恩
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.
河琳
回复 :電影一世紀，妖魔鬼怪亂銀幕也一世紀，從恐龍怪獸豆泥模型，到生動又恐怖特效化妝，到數碼特技革命搞怪搞得呼風喚雨，其實是人類借助千年神話，開發想像力的大功告成。想知怪物嚇人真相，兩個怪物頭號粉絲三年來孜孜走訪數十特效工作室，直擊傑出搞怪大師，《異形》《小魔怪》《未來戰士》《侏羅紀公園》《星河戰隊》等等怪物創作過程獨家披露，看創作者與怪物的激越關係，看怪物粉不離不棄old school 精神。巨大怪物情意結發「神」功，很像一部《科學怪人》哩！
