剧情简介
这部《未定名兰斯·阿姆斯特朗传记》的剧本由《猜火车》编剧约翰·霍奇执笔，好心故事的重点将放在“阿姆斯特朗的职业生涯，好心从癌症给予他的考验，直到丑闻将他带下神坛”。
好心作怪2013国语
这部《未定名兰斯·阿姆斯特朗传记》的剧本由《猜火车》编剧约翰·霍奇执笔，好心故事的重点将放在“阿姆斯特朗的职业生涯，好心从癌症给予他的考验，直到丑闻将他带下神坛”。
回复 :以趕屍為業的陳五(劉家榮)與徒弟范振元(汪禹)在一次行動中，因同時趕著九具屍體上路，顧此失彼下，走失了兩具殭屍；其中一具光頭殭屍(劉家輝)實非真殭屍，而是江湖漢子，因被奸人陷害而假扮殭屍以混人耳目。其間發生很多事故，光頭殭屍使出拳術退敵，原來陳五亦非常人……如果追溯香港功夫電影的源流，無論從哪方面講，劉家良都堪稱正宗！身為黃飛鴻第三代洪拳傳人，又是新派武俠電影開山之作《雲海玉弓緣》和《獨臂刀》的動作設計，還是由武術指導轉做導演的第一人，其輝煌和風格形成的時代都是在邵氏電影公司期間，《神打》、《洪熙官》、《少林三十六房》皆是影響潮流的經典之作，而《茅山殭屍拳》也成為「象形」功夫電影潮流中的佳作。
回复 :Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.Roger Philip Mellor
回复 :80后老男孩王雷(王冬饰)是一个日企白领，天生性格开朗且幽默感极强。在一次聚会中，由于刚和相恋多年的女友分手，心情差到极点的王雷和几个有反日情绪的朋友意见不和发生了争执。聚会结束后，醚酊大醉的王雷在街头小便，竟不慎被一股神秘的电流击中昏倒，当王雷醒来后发现自己鬼使神差地来到了1941年日军占领下的东北某城。阴差阳错之下,本身会日语的他竟成为了日本宪兵队队长小田木的翻译官。现代思维下的王雷为求自保，游刃有余地行走在军警宪特之间,上忽悠鬼子,下欺负汉奸。然而随着时间的推移，日军对中国同胞的暴行也一幕一幕真实地展现在王雷眼前，痛定思痛战胜自己内心的懦弱后，王雷毅然决然地利用自己特殊的身份投入到抗日的队伍中去。王雷利用现代人对历史的解读，以21世纪的思维，使一出闹剧开始上演,日军一次次的行动失败，王雷误打误撞的除奸行为，警察局长赵大胆(赵彬饰)的荒诞逗比，抗联地下党的误解,诸多搞怪因素组成了这部笑料百出，风趣无比的离奇故事
