1935年春，人海红军途经贵州某地布依族山区。连长万刚带领小分队到石门寨侦察，人海营救了被反动土司白山魈迫害的布依族姑娘刺莉。白山魈弃寨逃走。刺莉为报私仇，射死了白山魈的杀人工具“神虎”。红军为救济贫苦人民开展了分粮活动。巫婆迷娜乘穷人韦么叔的孙子误食生谷得了急病之机，掀起“退粮祭虎”风波。刺莉鲁莽地要捉迷娜，险些引起家族格斗。连长万刚及时赶来，揭穿敌人阴谋，教育了刺莉和布依族群众。为感谢红军，刺莉和群众决定将“红军万岁”四个大字刻在神岩上。红军帮布依族群众成立了石门赤卫队，刺莉当了队长。红军小分队离开石门寨后白山魈卷土重来，威逼群众铲除标语，并枪杀了韦么叔。为挽救乡亲，保护标语，班二公挺身赴险，将“红军万岁”深深地刻在神岩上。白山魈将班二公施以酷刑。刺莉和赤卫队员们为救班二公，智擒国民党派往石门寨的敌参谋长，并闯入虎穴，逼白山魈释放了班二公。红军小分队重返石门寨，同刺莉、班二公等赤卫队员们，一举歼灭了石门垭口的守敌。刺莉亲手射死了仇人白山魈。石门寨布依族群众送别红军，刺莉告诉红军：革命的火种已经深深地播在了山寨人民的心里。
民歌
回复 :在地球上的数十亿人之中，总有至少一个是你的真命天子，问题是，你如何才能找到他……梁若晴（林依晨 饰）在大学时有一段甜蜜的爱情，但男友艾伦（李易峰 饰）为了发展自己的音乐事业将若晴放弃，致使后者大为受伤。若晴从此加入了阿姨创建的失恋女互助组，历经五年的熏陶后，男人在她看来只是一群骗子。毕业后的若晴在医院做义工期间，结识了全院寄予厚望的主治医师陆哲翰（陈柏霖 饰），陆哲翰散发的耀眼光芒令若晴方寸大乱，她在互助组的开导下，为了抵御心动本能对陆哲翰展开了暗算计划，然而陆哲翰举止得当令若晴无法成功，就在若晴芳心暗动之时，她的感情轨迹再次出现了波动……
谢丽金
回复 :米拉迈克斯公司（Miramax） 和Broad Green Pictures公司宣布，他们将为2003年喜剧《圣诞坏公公》（Bad Santa）拍摄续集，原版主演比利·鲍勃·松顿（Billy Bob Thornton）也会回归。《圣诞坏公公》讲述的是一个小偷为了行窃，到商场扮成圣诞老人的故事。和我们通常看到的圣诞老人不同，比利·鲍勃·松顿塑造的圣诞公公抽烟、喝酒、三观不正满满负能量，不过这样的人设倒是让人感觉十分新鲜，电影当年上映时以黑马之姿取得了票房佳绩。《圣诞坏公公2》（Bad Santa 2）计划2016年圣诞档期在美国上映，明年一月份该片将在加拿大魁北克省的蒙特利尔开机拍摄。
韩寒
回复 :In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.
