传统上，精品久自练武之人有所谓“尊师重道”，精品久自但并非每件江湖事都是黑白分明。高坚(江林)是武林大豪门下小弟子，生性耿直，常被众师兄欺侮，其师石正重对他没甚好感。一天，高路见不平，救了负伤逃亡的武林怪杰金天运(陈观泰)，并藏金于其独住的杂物房中；金因高仗义相救，而己也身受重伤时日无多，便毫无保留地将自己武功授给高。谁知金原是高师的仇人，不料高于练武时无意间露出非凡身手；高师知真相后，将之判以“背叛师门”之罪。谁料为师门报仇雪恨的，竟是这“叛徒
常海
回复 :不是巧合，相依為命的父女、愛酒的父親、起眼的道具，都衝着小津而來。Claire Denis（《影舞者瑪德》）獻給小津之作，如果不說，你只能認得出運鏡如寫詩的簽名樣式，也不會知道兩人可以這麼近。憂鬱的藍夜，迷宮似的公路網，交織樓房之間的地鐵路軌，高超的場面調度先寫孤寂的城市個性，然後人物放進去，不用多話，戲便自然在了。不放心女兒的父親，不想去愛的女兒，宛如親人的鄰里，凝聚成親和力極強的世界，展開連綿故事。小津會認同：生命有時，人要懂得放下。
甘萍
回复 :五个性格各异的女孩组成了一个史上最有爱的无敌“铁蜜”队。兰依依的怂男老公因欠巨额债务莫名失踪，四个姐妹为帮助兰依依寻夫偿债，经历了一系列令人啼笑皆非的乌龙事件。她们一行五人上演着京城古惑仔式“兄弟”情义。
槙原敬之
回复 :转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub“The end of paradise on earth.”—Jean-Marie StraubThe 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.The mise en scène of what words exactly?The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.Is “Straubie” Greece?This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich
