大佛普拉斯

　　这部电影翻拍自大B 1973年主演的同名电影，影片以印地语和泰卢固语两种语言同时发行。主要讲述了ACP的维杰·卡纳警官与石油秘密犯罪组织斗智斗勇的故事，其中蕴含了亲情的悲离，爱情的甜蜜，还有友情的互助。柔和与硬朗的风格并行，值得一看。

　　1955年春天，中国政府受到亚非会议五个发起国的邀请，决定派出以周恩来总理为团长的中国政府代表团参加在印度尼西亚的万隆市举行的亚非会议。台湾特务得到情报开始密谋策划谋害周总理，周恩来总理受到缅甸总理吴努的邀请先期经昆明去缅甸首都仰光参加六国总理的会晤。这时从香港启德机场起飞的中国政府租用的印度“克什米尔公主号”飞机，被台湾特务密谋在飞往印尼途中炸毁，机上十一名中国代表团的先遣人员和外国记者全部遇难，举世震惊。面对纷纭复杂的国际形式和台湾特务的破坏，周恩来不顾个人的安危，决定按原计划继续乘坐印度飞机“空中霸王号”飞往印尼。印度尼亚的华侨们怀着极大的爱国热情为欢迎祖国的总理和代表团的到来做着各项筹备工作，以侨领麦公为首的华侨联合会为代表团捐车捐物，并且组成了各种服务小组。当周总理一行冒着重重危险抵达雅加达玛腰兰机场时，受到了当地群众和华侨的热烈欢迎，整个机场被围得水泄不通。
　　亚非会议的召开，是二次大战后众多刚刚从殖民主义的统治下独立起来的亚非国家首脑的第一次聚会。美国政府也派出了一个庞大的所谓记者代表团参加了这次会议。在复杂的国际政治背景下，大家怀着良好的愿望而来，却又意见很不统一，一些代表对共产主义心存疑虑，提出苏联共产主义是一种新的殖民主义，也提出了华侨的双重国籍问题所可能造成的威胁。会议面临着失败的边缘。中国代表团的书面发言已经印发给大家，原来不准备再作大会发言，但面对这种情况，周恩来总理临时请求大会发言，他的“中国代表团是来讲团结的，不是来吵架的：中国代表团是来求同的，不是来立异的……”语惊四座。他的无比的真诚打消了与会代表的疑虑，也使亚非国家找到了共同团结的基础。在万隆会议期间，台湾特务组织了一个二十八人的敢死队铁血团，密谋杀害周总理，在印尼政府和华侨的保卫下他们的阴谋未能得逞。亚非会议期间，周恩来总理日理万机，利用一切机会广交朋友，七天时间他只睡了13个小时。经过周恩来、陈毅为首的中国政府代表团的努力，终于团结亚非代表确立了“和平共处五项原则”，使之成为以后国与国之间交往的基本准则，同时，也确立了新中国在纷纭复杂的国际政治舞台上不动摇的地位。

　　湘西荒山里的落花村，以前是出了名的赶尸村，明清时期村里出了个著名的赶尸先生“齐大师”，在全国等地都曾有分铺，专门负责赶尸回乡。齐大师死后，后人经历了战乱，失去了这门本事。对巫文化有着浓厚兴趣的秦教授，带着学生来到湘西落花村研究“湘西赶尸术”。落花村发生了离奇古怪的事情，灵堂尸体躯干凭空消失。这场研究巫文化的旅途充满波折，各种灵异事件频频发生。在人性与欲望的博弈交织中，落花村隐藏的秘密逐渐浮出水面，迫害村民，将他人命运玩弄于手掌间的阴险之人得到惩治，落花村重归太平。

　　新来镇上的莱利尝试加入拉拉队，但随着她的变化越来越好，她注意到一些拉拉队队员可疑地被开除或受伤，她想知道她的继母是否正在尽一切努力让她加入球队。

　　20世纪90年代，一名韩国青年为了更好的生活搬到波哥大，在哥伦比亚黑市从底层做起，冒着危险试图攀向成功的巅峰。

　　为了修筑兰州——新疆的铁路，一支筑路大军战斗在新疆天山地区。容书记带领工人们向困难和大风雪作斗争，并对王队长和孔技术员错误的保守思想进行了斗争，做了大量的思想工作，使他们认识了自己的错误。容书记发动群众大搞技术革新，苦干加巧干，在天山南北各少数民族兄弟的帮助下，终于修通了这条铁路。

　　45 year old Don Valter is a traditional priest who still wears an old fashioned black tunic out of nostalgia. One day young Claudio and his exuberant troupe of actors appear, proposing to perform an avant-garde show based on the Gospel__APOS__s miracle of the rebirth of Lazarus*. The powerless priest is overwhelmed by this young upstart, who stirs within him emotions that will, whether he likes it or not, pull him into the modern era.

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family__APOS__s history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it__APOS__s the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family__APOS__s world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe__APOS__s clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

　　一夜之间失业的韩正宇，用完美女装的身份“韩正美”成功再就业后发生的故事。

　　哈姆迪（吉姆·贝鲁什 Jim Belushi 饰）和妻子金妮（凯特·温丝莱特 Kate Winslet 饰）一起在游乐场生活和工作，金妮有过一段婚姻，两人共同抚养着金妮和前夫所生的孩子。一天，哈姆迪的女儿卡洛琳娜（朱诺·坦普尔 Juno Temple 饰）找到了父亲，她曾经执意嫁给黑帮大佬，如今正在遭受黑帮的追杀。
　　虽然女儿从前的所作所为令哈姆迪十分生气，但卡洛琳娜的浪子回头显然让哈姆迪开始想要修复这段破碎的父女关系。与此同时，金妮邂逅了海滩救生员米奇（贾斯汀·汀布莱克 Justin Timberlake 饰），两人之间碰撞出了爱情的火花。金妮想要抛弃一切同米奇在一起，然而，在看到了卡洛琳娜之后，米奇不可自持的移情别恋了。

　　Lucas Jackson（保罗•纽曼 Paul Newman 饰），一个越战的退伍兵，在一个喝醉酒的夜里拆掉了镇上的停车计时器而被判两年的监禁。一开始，他就挑战监狱里的领袖人物Dragline（乔治•肯尼迪 George Kennedy 饰）。Dragline个头比Lucas大得多，把Lucas打得毫无还手之力，但Lucas却一直拒绝屈服，因此赢得了Dragline的尊重。而在监狱的扑克比赛中，Lucas屡屡取胜，得名Cool Hand Luke。Lucas的母亲和侄子的来访让他备受鼓舞，虽然他在监狱里要忍受许多恶劣的环境和非人的待遇，但他依旧对前途充满了希望。然而母亲的逝世却让他陷入了深深的痛苦。他比之前更想要逃狱，然而一次次的失败，和监狱长的无情，让他的路越来越难走……
　　本片获奥斯卡最佳男配角奖。

　　2012年第65届戛纳电影节导演双周单元官方选片！Aliyah这个单词是指犹太人搬去以色列定居的意思，故事描述男主人公要完成他的Aliyah却难以割舍他跟巴黎的数单牵连，当然，他更要玩一票大的才能攒够资金，他到底是否能够如愿呢？