剧情简介
魔鬼A gentle girl born and brought up amidst the ever growing eco-social-consumeristic environment finds it difficult to fit in the society. She decides to take it hard on the people. What she does is the rest of the story.
魔鬼搭档
魔鬼A gentle girl born and brought up amidst the ever growing eco-social-consumeristic environment finds it difficult to fit in the society. She decides to take it hard on the people. What she does is the rest of the story.
回复 :龙飞早年定居韩国，在当地从事偏门生意，他希望将公司纳入正轨，成为上市公司，后代便可做正行生意。惜亚洲金融风暴冲击而未能如愿，其亲生儿子太子及养子占美都已长大成人。龙飞欲将生意交给太子及占美打理。有勇无谋之新势力头子丧荣也曾追随龙飞，因常与太子执拗而另起炉灶，并处处与太子搅对抗。一连串事情发生，龙飞开始怀疑占美，占美自知不能久留，不惜利用丧荣谋取龙飞的产业。香港人马辉因弟遇劫，错手将劫匪杀死，潜逃到汉城半电影画面截图(2张)年。某天巧遇太子被丧荣等人群殴，出手相救，二人顿成知交。太子引荐马辉投靠龙飞，并介绍卡文给马辉认识，卡文之闰中密友莉莉经常一起游玩。婚后三人又同住，莉莉竟暗恋马辉。占美与丧荣之行径越趋白热化，惜被马辉识破。占美变本加厉，指使丧荣兄弟强奸卡文，引至卡文自杀，继而杀死太子及龙飞亲信超叔。龙飞非常震怒, 命令马辉干掉丧荣及生擒占美. 丧荣兄弟虽死于马辉刀下, 但占美却在远距离抢杀马辉。多宗仇杀案件相继发生，警方抓莉莉回警署协助调查，莉莉供出占美一切。警方通缉占美，他遂潜逃菲律宾，并带走龙飞之女友金小姐。龙飞誓要亲手杀掉占美，幸得好友雷文主动协助，先往菲律宾查探得占美之动向，安排好一切后便通知龙飞马上到菲律宾。龙飞先拯救金小姐，再杀掉占美，但同时龙飞也死在别人的冷枪之下，最终以悲剧结束。
善舞的死者
回复 :居住在加利福尼亚海滨的16岁的美丽少女波碧·摩尔（艾玛·罗伯茨 Emma Roberts 饰）家境优渥，衣食无忧。由于母亲早年去世，父亲盖瑞（艾丹·奎恩 Aidan Quinn 饰）对她纵容溺爱，致使她从小个性张扬，无法无天。某天，波碧的嚣张终于惹恼老爹，于是被送到一家英国寄宿学校学习。当然，即使到了异国他乡，波碧桀骜不驯的性格也未作改变，而她的作风自然也引起校内女生们的关注与反感，严格的校规更令她透不过气来。波碧无时无刻不想逃离这个古板沉闷的地方，不过在这段时间，她渐渐意识到自己从前行为的愚蠢，友情也慢慢来到身边……本片女主角艾玛·罗伯茨是著名女影星茱莉娅·罗伯茨的侄女。
回复 :Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
