年轻帅气的栗野健治（成宫宽贵饰）是一位为夜店物色小姐的街头混混，天桥一心想出人头地。他总是利用“工作之便”带不同的女孩回家过夜，天桥栗野并不知道，住在楼下的孤独自由撰稿人杉山博（皆川猿时饰）十分艳羡这样的生活。已经好几年没碰过女人的杉山一直事业无成的龟缩在家。某夜，喝得酩酊大醉的杉山遇见了萝莉装扮的胖女孩玉木小百合（村上知子饰），两人巫山云雨整夜。然而实际上玉木经常勾引男人与自己做爱，然后把过程偷拍下来做成DVD卖钱，这就是她目前的谋生之道。栗野一天在百货商场邂逅美丽的售货员友子（中村友理饰），友子在栗野的介绍下成了陪酒女郎，并决定听他的话去拍AV。妄想拯救地球的卡拉OK厅服务生宅男青柳光一（吉村崇饰），一直活在自己世界中。本片改编自直木奖获奖作家奥田英朗出版于2005年的同名小说。
李濠
回复 :格雷塔（凯拉·奈特莉 Keira Knightley 饰）抛弃了一切跟随着男友戴夫（亚当·李维 Adam Levine 饰）来到美国纽约实现他们的音乐和爱情梦想，没想到曾经幻想过的美好一切化作泡影，在获得了更好的工作机会后，戴夫果断抛弃了格雷塔，留下她一人苦苦在底层挣扎。丹（马克·鲁法洛 Mark Ruffalo 饰）最近的生活也不好过，他发现自己无法从思念前妻马瑞安（凯瑟琳·基纳 Catherine Keener 饰）的感情中走出来，与此同时，他的女儿维奥莱特（海莉·斯坦菲尔德 Hailee Steinfeld 饰）正处于一生中最叛逆的阶段。丹和格雷塔，命运让这失意的两人于一间小小的酒吧里相遇了，等待着他们的，会是怎样充满波折而又浪漫满满的故事呢？©豆瓣
洪俊扬
回复 :瓜川节度使李怀让痛失爱女，不堪忍受思念之苦，于是招来画师桑子明为其女画像。在作画期间，桑子明便已经遭遇了种种诡异的事件，但是艺高人胆大的他并没有将这一切当一回事。一天，桑子明在外邂逅一位名为莲香的女子，女子自称乃敦煌镇名妓，如今无家可归，经受不住莲香的美貌诱惑，桑子明鬼使神差的将她带回了家。之后，莲香离去，桑子明在月牙泉边偶得一张古琴，他将古琴带回家演奏，哪知道一位名为燕儿的妙龄女子闻琴声而来，两人夜夜笙歌好不自在。莲香回来了，发现桑子明印堂发黑一身鬼气，一问才知问题正处在燕儿身上，原来，燕儿的真身乃是李怀让之女，对桑子明一见钟情
王文宣
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
