某座城市的港湾广场，米尼当年曾因接二连三的自杀事件成为闻名遐迩的凶地，米尼传说在午夜穿过它的人可以看到另一个世界。某天，女孩刘欣媛（吴昕 饰）找到了曾经是“盲点侦探”的房产中介陈博涵（马浴柯 饰），她自称在和好朋友们夜探港湾广场后看到了鬼影，希望陈能帮自己摆脱恐怖的威胁。在此之后，火锅店老板阿城（王景春 饰）、小学教师陈文（潘粤明 饰）也相继找上门来，他们都曾和这个可怕的地方有过瓜葛。倍感蹊跷的陈小心翼翼展开调查，结果却在几个人身上发现了共同之处……鬼影幢幢的夜晚，真正的恐惧来自何方……
回复 :1962年，格蕾丝（妮可·基德曼 Nicole Kidman 饰）大婚已经有六年，她的一颦一笑已经成为20世纪王妃的经典影像，但此时，她正在力图使自己的过去与现在和解。她渴望重返大银幕，却因如今身兼三职——两个孩子的母亲、欧洲公国的王妃、雷尼尔三世（蒂姆·罗斯 Tim Roth 饰）的妻子——而踌躇不前。希区柯克（罗杰·阿什顿-格里菲斯 Roger Ashton-Griffiths 饰）建议她重返好莱坞，这个提议令格蕾丝陷入苦恼。当时丈夫雷尼尔的现代化改革措施遭到了法国总统戴高乐的抵制，戴高乐要对摩纳哥课以重税，并推动武力以保证此项措施得以实行。逐渐膨胀的国际性危机和法国迫近的入侵脚步，不仅是格蕾丝家庭、婚姻、国家的危机，也是她个人生活的危机。这是一个远离美国家乡的银幕明星不得不做出艰难决定的时刻，是回去做那个受全球瞩目和万千影迷爱戴的大明星，还是拥抱她的新身份，拥抱她对于丈夫、子女，以及这个世界第二小却是她的家、她的王国的责任……
叶蕴仪
回复 :单亲妈妈秦玉梅高考时因三分之差与大学失之交臂，让女儿许向楠考上重点大学是她的一个执念。因为一则交通事故，玉梅与女儿意外交换了意识，不得不代替女儿上学，并发现一向听话刻苦、成绩优异的女儿，一直瞒着自己跳街舞。玉梅难以接受这个现实，决心好好学习，替女儿考上大学。“许向楠”一夜之间变成学霸，引起了校园里的骚动。然而，为了唤醒女儿，秦玉梅不得不接近舞团的三个队友。当三个年轻人发现意识交换的真相后，对玉梅不离不弃，一直想办法唤醒病床上真正的许向楠。过程中，秦玉梅被三个年轻人重义气、敢追梦的勇气所打动，慢慢的改变了对街舞的看法，支持女儿追寻梦想。
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.
