一天侦探萧明接到一个神秘电话竟然卷入了一场杀人案件，疯狂在各方黑暗势力的威逼下他决定还自己一个清白，疯狂他先是花言巧语骗取拳击馆老板的信任历尽艰辛万苦从虎穴逃生。就在侦探萧明疯狂逃跑的时候恰巧碰到了三个和尚和一个女孩正在被拳击馆老板追击，就在千钧一发的时刻悟明和尚拦下了萧明的车落荒而逃，经过一番对话，萧明得知三个和尚下山的目的。日本黑帮胜平二郎派手下胜平史蒂芬去少林寺偷取一本秘笈，不料死于归途之中，秘笈丢失。胜平二郎又派杀手花也真衣前去打探虚实，这时候胜平二郎的女儿无辜失踪，花也真衣究竟遇到什么，使其最终不得不放弃一切落荒而逃。小黑二郎是胜平二郎的亲信，他是否在暗中操作这一切？三个少林武僧究竟能否拿回属于自己的东西？
伍咏薇
回复 :《拳职妈妈》讲述了一位伟大的拳击手母亲为了鼓励儿子成为一个顶天立地的男子汉，带着患有癌症的身体去参加拳击比赛，最终儿子受到激励，成长为男子汉的励志故事。
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
白一彤
回复 :一场国际品酒大赛，使得奇酒“相思红”重见天日，举座皆惊。意大利酒庄美女传人远赴神秘的东方古城敦煌探秘，却被酒厂呆萌大龄老板征服，成为一对欢喜冤家。谁料黄雀在后，对自己垂涎已久的黑心酒商暗地追踪，携打手、笨贼齐聚敦煌，在茫茫大漠中上演一场生死搏斗与追击，揭开一段淹没多年的感人跨国恋情，虽历经一生，依然未了……
