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一名名叫罗克·济慈的卧底警察与一个名叫阿尔奇·摩西的毒贩和汽车窃贼成了朋友，视频目的是为了抓住邪恶的毒枭弗兰克·科尔坦。但唯一的问题是济慈是一名警察，视频他的真名是杰克·卡特(Jack Carter)，他正与洛杉矶警察局秘密合作，在洛杉矶警察局设立的一个圈套中逮捕摩西和科尔顿。
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一名名叫罗克·济慈的卧底警察与一个名叫阿尔奇·摩西的毒贩和汽车窃贼成了朋友，视频目的是为了抓住邪恶的毒枭弗兰克·科尔坦。但唯一的问题是济慈是一名警察，视频他的真名是杰克·卡特(Jack Carter)，他正与洛杉矶警察局秘密合作，在洛杉矶警察局设立的一个圈套中逮捕摩西和科尔顿。
陈盈洁
回复 :消防员亚健（钟镇涛 饰）从一场大火之中救出了已故女星亚玲（郑裕玲 饰）的牌位，亚玲显灵决心报答亚健，却反而连累亚健遭到了消防局的开除，沦为无业游民。亚健找到了自封居士的哥哥亚源（午马 饰），亚源在误打误撞之中招来了女鬼亚花（黎燕珊 饰），亚花竟然爱上了亚源。一场意外之中，亚健见到了现身的亚玲，误以为亚玲是平凡女子，坠入了情网，同样爱上了亚健的亚玲隐瞒了自己的真实身份。亚花的恋情遭到亚玲的阻挠，一怒之下将亚玲是女鬼的消息告诉了亚源。得知身份暴露的亚玲选择了离开，可直到此时亚健才发现，自己已经无法离开亚玲了。
刘婕
回复 :影片由德国年度卖座冠军电影《该死的歌德》原班人马接力打造。讲述了痞子泽基（埃利亚斯·穆巴里克饰）刚刚出狱，找到了藏有以前抢来的赃款的地方，谁知那里居然建了一所歌德学校。于是他装成代课老师混进学校，找寻藏匿的地点。然而，这一次，泽基老师(埃利亚斯·穆巴里克 饰演)要带他的学生们来到泰国校外教学以强化他们的校誉。《该死的歌德2》开场依旧以高度密集的非正确幽默维持观众期待，将班级郊游作为教学竞争的扩展区域，并将学校排名、支援预算、生态致力和助学措施等相关领域贯穿始终，影片相较于前作更立体地塑造个别配角，但类似《宿醉2》将基本情节元素在异国背景下回收，且受制于包括泰国孤儿在内的支线内容。以《土耳其语初学者》成名的导演博拉•达格特肯携主演埃利亚斯•穆巴里克原班人马打造的这部续集去年九月上映后以770万观影人数超越《脑中蜜》成为德国年度票房冠军 两周就吸引到五百万观众
刘力扬
回复 :In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.imdb comment
