剧情简介
在一次全副武装的运钞车劫案中，弄丢梅斯先生（杰森·斯坦森 饰）的儿子作为案发目击者被劫匪杀害。怒火中烧的梅斯为报丧子之仇，弄丢化身H卧底成为运钞车安保，试图找出杀害他儿子的劫匪以及与劫匪暗中勾结的安保公司内鬼。
虽然只是弄丢了手机2
在一次全副武装的运钞车劫案中，弄丢梅斯先生（杰森·斯坦森 饰）的儿子作为案发目击者被劫匪杀害。怒火中烧的梅斯为报丧子之仇，弄丢化身H卧底成为运钞车安保，试图找出杀害他儿子的劫匪以及与劫匪暗中勾结的安保公司内鬼。
真情马克合唱团
回复 :维克多（约翰·雷吉扎莫 John Leguizamo 饰）生活在车水马龙的大都市纽约，在这里，他经营着自己的毒品生意。维克多靠着贩卖一种名为“帝国”的毒品发家致富，过着奢靡无度的生活，与此同时，他还邂逅了名为卡门（丹妮丝·理查兹 Denise Richards 饰）的美丽女子，两人走到了一起。卡门怀孕了，这让维克多开始意识到，自己不能够再靠着作奸犯科来赚钱了，他必须找到一个能够给他提供稳定收入但是又合理合法的行当。抱着这样的念头，维克多结识了银行家杰克（彼得·萨斯加德 Peter Sarsgaard 饰），在杰克的带领这下，维克多开始野心勃勃的向纽约上流社会进发。
李炜
回复 :影片改编自Maurice G. Dantec的畅销小说《Babylon Babies》。未来世界，随着科技的超速发展，大量高科技的机器人投入使用，为人类提供便利的同时也取代了大批劳动力。很快机器人的数量就已与人类不相上下，世界变成了机器与人类共生的一个团体。Toorop(范·迪塞尔 Vin Diesel 饰)是一名退役的老兵，空有一身的武艺却终日无所事事，转业当上了拿钱办事的雇佣兵，专门接受各种护送任务。一日，他接受了一项新任务：在Rebecca修女(杨紫琼 Michelle Yeoh 饰)的陪同下，押解一个神秘女人横跨欧亚大陆。然而他并不知道对方身上原来有着某种可怕的病毒，这种病毒的力量足以毁灭全世界。与此同时，一个邪教组织也正在对她虎视眈眈，企图利用这名女性产下一个基因改良的人种……
吉雪萍
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
