老 夫子有一只珍贵的翠绿色的古董花瓶，亚洲是著名的碧玉鸳鸯瓶。老夫子的那只是属「雄」的，亚洲而「雌」的则为赵经理(张瑛饰 )所藏。赵经理亦十分喜爱这只花瓶，他找到古董店的古老板，希望他能帮忙找出那只「雄」花瓶，并表示愿意出高价购买 。古老板无意中得知那另外一只花瓶在老夫子手里，遂叫他的内弟刘彪设法将花瓶弄到手。老夫子和大番薯机智地击退了 刘彪的强抢，但是古老板并不死心，他计划了一个个的方案，最终都破产了。老夫子最后以20万元的价格将花瓶直接卖给 了赵经理，古老板又想夺取那20万元的巨款，因而触发了连场激战。巨款最后被老夫子捐给了教会医院。
红布条
回复 :一桩国际神秘大案，巨额美金意外落入由刘小光、文松主演的一家四口手里，平静生活被莫名卷入的神秘大案打破，遭遇各种惊心动魄的险情。无奈之下刘小光、文松父子在怯懦与勇气的挣扎中，开启神秘计划，一家四口各怀“绝技”，决定组合神奇S4侠，开启正义者联盟行动。决定抽丝剥茧，探寻个水落石出，一路不断遭遇各种啼笑皆非的故事，总是在不经意之处步步化险为夷，令人捧腹大笑。随着案情的深入，却发现面对的敌人越来越危险，总是神出鬼没，永远躲在暗处追杀，刘小光用自己的充满魔性的舞步，文松用祖传的萌萌拳一步步将这起跨国大盗制服，S4侠不负众望的在各种逗乐中轻松过关，维系着这座城市最大shoppingmall 的万无一失。
孙益程
回复 :转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub“The end of paradise on earth.”—Jean-Marie StraubThe 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.The mise en scène of what words exactly?The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.Is “Straubie” Greece?This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich
回复 :这是一部以前被禁演的影片,为台湾早期艳星,在台湾日月潭实地拍摄,该地风光明媚,湖景山色宜人,茶园苗圃处处皆是,描述农家民情,年青男女恋爱性慾,以及儘情随地作爱景象.剧情轻鬆幽默,配合台湾早期老牌男星及美艳女星演出,很具乡土的农村风味,可让您暂时解忧忘烦,也看看为何会被早期政府禁演的影片。
