剧情简介
本片由真实事件改编而成，致命故事发生在1970年代初的斯坦福大学，致命一群大学生进行了一场关于人类行为的研究试验。他们分成两伙人，一伙人扮演监狱狱警，另外一些人则扮演囚犯，在24小时内开始模拟监狱里的日常生活。结果证明，扮演狱警的人在模拟监狱的情境中，开始变得有暴力倾向，而扮演囚犯的人则预谋造反。试验不久就被叫停，但其研究结果许多年来一直为人们所关注，引起了广泛的争议。
致命录像带85
本片由真实事件改编而成，致命故事发生在1970年代初的斯坦福大学，致命一群大学生进行了一场关于人类行为的研究试验。他们分成两伙人，一伙人扮演监狱狱警，另外一些人则扮演囚犯，在24小时内开始模拟监狱里的日常生活。结果证明，扮演狱警的人在模拟监狱的情境中，开始变得有暴力倾向，而扮演囚犯的人则预谋造反。试验不久就被叫停，但其研究结果许多年来一直为人们所关注，引起了广泛的争议。
杜鹃
回复 :《拉瑞·克劳》由汤姆·汉克斯自导自演。海军退伍之后，拉瑞（汤姆·汉克斯 Tom Hanks 饰）勤勤恳恳在卖场工作了20几年。他为人和善，几乎从不发脾气，是明星工作人员，顾客喜欢他，老板也对他颇为赏识。可是裁员风暴还是让他失去了工作。空闲的他向当地社区里的大学报了名，并很快就和各色人等结成了好朋友。有流浪汉、有贫民窟的孩子，大家都希望到这里改善自己的生活。在公共演讲的课堂上，拉瑞出乎意料地爱上了自己的老师梅赛德斯（朱莉娅·罗伯茨 Julia Roberts 饰）。但她是一个已婚女子，并且她把自己的精力都放在了教学上，无暇顾及学生的爱慕。现在，一切难题似乎都到了拉瑞的身上......
王绍伟
回复 :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……
梦洁
回复 :Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
