抓痒神探

　　In the early 1920s, Georges Laffont (Romain Duris), traumatised by the horrific trench warfar, decides to leave his life behind and travel to West Africa into the vast territories of Upper Volta in the company of Diofo, artist and also survivor of the Great War. From village to village, Georges uses Diofo__APOS__s talents as a griot to recruit the villagers as labour for plantations in Ghana.
　　But his adventure leads him to a dead-end, and he comes back to Paris where is brother Marcel (Grégory Gadebois), a war invalid, lives with their mother__APOS__s. After the war in Europe, life went out without him.
　　Georges will desperately try to find his place, with the help of Hélène (Céline Salette), a sign language teacher with whom he will have a tumultuous relationship, and his family, that he selfishly left behind.
　　He will finally attempt to heal their wounds, and his.

　　剧情灵感来自戴维森的真实生活，包括他那在911事件中去世的消防员父亲。主角为二十多岁的男子Scott，他跟妈妈住一起，梦想是当纹身师，但每天除了吸麻和朋友鬼混、暗暗勾搭青梅竹马之外无所事事。而妈妈找的新男友却引发了一系列事件，迫使开始Scott正视自己的人生。

　　凯蒂扮演的音乐评论家，是一位老钢琴家(帕特里克饰)的精神支柱。在她不幸离世后，钢琴家来到瑞士，完成了精神的救赎。

　　因为妹妹顽皮而遭遇车祸，失去双腿的乔毅然，不忍心看着家人为自己伤心，带着一种悲伤的情绪，独自出门，遇到好心的房东夫妻收留，在与房东女儿苏曼的接触中，双方互生好感。
　　乔毅然偶然中看到一个叫叶小晴的男孩，不愿意说话，害怕跟人接触，他向苏曼打听，得知叶小晴的遭遇后，想要帮助他，可是，叶小晴的妈妈却不领情，还将叶小晴送回了老家。
　　苏曼的追求者韩辉，仗着自己家里与苏曼的家里有生意往来，以苏曼未婚夫的身份来羞辱乔毅然，导致乔毅然黯然神伤的离开，但是，乔毅然并没有放弃希望，他辗转了很多地方，去寻找叶小晴的下落。
　　乔毅然在寻找叶小晴的过程中，看到了世界残奥会冠军姚娟的报道，他的心里，升起了一种希望，苏曼帮助乔毅然联系上了世界残奥会冠军姚娟，在姚娟的帮助下，他们顺利地找到了叶小晴，并给予救助。
　　谁知，叶小晴在特殊教育学校的舞台上突然晕倒，诱发了叶小晴母亲潜在的疾病，为了不影响叶小晴的治疗，姚娟、乔毅然和苏曼，只能瞒着叶小晴。
　　有了姚娟的鼓励，乔毅然欣然回家安装假肢，却发现自己的妹妹乔淑然，跟他的主治医生罗文博暗生情愫，而乔家父母却因为罗医生离过婚，有个孩子而反对他们的交往，乔毅然了解了事情的真相以后，选择了祝福，而这个时候，乔淑然也发现了苏曼和哥哥之间的感情，她鼓励乔毅然去追求自己的幸福。
　　韩辉尾随着苏曼，看到了苏曼在特殊教育学校，帮助那些小朋友，心生愧疚，反省自己的所作所为，流下了悔恨的泪水，还要求苏曼让自己也尽一份，并承诺：做一个对社会有用的人。
　　苏曼在姚娟的鼓励下，看清楚了自己的内心，她面对乔毅然的一再退缩，掀开了自己的裙子，露出了被金属固定的左腿，乔毅然惊愕，将苏曼紧紧地拥入怀中。

　　An up-and-coming video gamer faces his greatest challenge yet as he and his team must overcome a fiery gaming superstar, as well as their own battling egos, to win the ultimate video game championship.

　　1963年，霍金21岁的人生发生了一悲一喜两个重大事件。这一年他被确诊患上了肌萎缩侧索硬化症，这种病会使他的身体越来越不听使唤，只剩下心脏、肺和大脑还能运转，最后连心肺功能也会丧失，当时大夫预言他只能再活两年。这一致命的打击几乎使霍金放弃了学业，但生日舞会上一个女孩的出现神奇地改变了一切，她就是霍金的第一任妻子简。

　　富家千金丁香，与出身低微的长工沈大桥相恋，但因身份悬殊被母亲拆散。为寻求真爱，丁香做了落跑新娘，离家出走去寻找恋人，当她历经艰辛与沈大桥重逢，但此时的他已是国家叛徒，在真爱与正义之间，她该如何诀择？ 　　[2]富商之女丁香与长工的儿子沈大桥相爱，却遭丁母强烈反对，无奈沈大桥远走参军，丁香另许他人。新婚之日，她逃婚去寻找大桥。阴差阳错，丁香邂逅了地下党员方志良，并得知大桥已经牺牲。悲痛之余，丁香决定加入抗日队伍。 　　一次，在执行任务时，丁香发现伪政府的高官李振山酷似沈大桥，几经波折，丁香证实李振山就是沈大桥。看到昔日的恋人如今成为众人唾弃的叛徒，丁香于是好言劝导李振山回头是岸，但沈大桥不愿放弃日本人给予他的金钱和地位，丁香心寒绝望。 　　于是，曾经的恋人成为水火不容的对手。那么，丁香如何继续她的抗战道路？沈大桥将落得怎样的下场？

　　每年二月份，阿根廷西北部就会开始下起热带雨林特有的倾盆大雨，雨水把广阔的森林变成了一片人畜都无法通过的沼泽湿地，炙热的太阳晒在沼泽上，热气与雾气让这儿一片死寂。五十岁老妇人梅恰，就住在这片沼泽地的边缘，她与她的表妹塔丽在这儿经营着一座农场，她们各有四个小孩，各有一个老公，两个家庭在沼泽边挣扎着生存，但是这一年夏天，两个意外事件让她们面临了生存的挑战……

　　本片依据Howard Hughes的生平改编。
　　Howard Hughes（Leonardo DiCaprio 饰）出生于美国德州休士顿，18岁时，他继承父亲德州油井的财富，心怀电影梦想移居好莱坞。1926年他买入125家戏院的控制权，砸下数百万美金拍了实景空战史诗电影《地狱天使》，成为著名的制片人；1939年，他入主环球航空公司，他迅速使公司扭亏为盈，二战期间与美国军方合作，主持了蓝云杉飞机的发明和改进。
　　Howard Hughes在事业上取得巨大成功的同时，他也饱受了忧郁症和精神官能强迫症的折磨；他的感情生活波折重重，Katharine Hepburn（Cate Blanchett 饰）、Ava Gardner（Kate Beckinsale 饰）先后离开他，让他备受打击。
　　影片选取Howard Hughes重要的生活事件，真实地再现了他的传奇。

　　故事设定在一个死后的奇异时空，所有自杀后的人都会被聚集到这里。在这个异次元的世界里，除了每个人都拥有神奇力量外，一切看似跟现实世界毫无分别。男主人公齐亚（派屈克·福吉特 Patrick Fugit饰）为情割腕自杀后，本以为能就此一了百了，却阴差阳错的坠入这个自杀者的天堂。在路上，齐亚先后遇见了因各种原因自杀的路人，后与另外两位自杀者结伴同行，一起踏上了神奇旅程。

　　佐佐和小美是一对大学恋人，毕业后，两人因为爱情留在了同一个城市，没有生活琐碎的校园的爱情是纯洁而美好的。然而步入社会后，面对各种的生存和生活压力，两人的感情逐渐出现了不和谐的音符，分分合合，这段美好的初恋的最终结局将是如何……

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.