罗刚（李晨浩 饰）和林娜（汤晶媚 饰）相恋多年，亚洲彼此之间感情十分要好，亚洲两人都将对方视为自己生命中的唯一。然而在一场意外之中，林娜从高处坠下不幸丧命，这让罗刚陷入了痛苦之中，他始终不相信这是一场意外，而是有人故意而为之。王来（沈建宏 饰）和伊伊（任娇 饰）是罗刚的好友，不久之后，他们竟然收到了诡异的快递，而这快递亦是夺命快递，它的到来引发了一连串的死亡恐怖世界。朱朝宇（姚一奇 饰）是罗刚的挚友，开始从快递入手调查事件的真相，殊不知，当他一步一步的接近真相的同时，危险和死亡也在一步一步的靠近着他。
回复 :白勇奇（金来沅 饰）和金钟大（李敏镐 饰）这对落难兄弟无路可去，偶然机会他们帮黑社会打架，擅长打斗的钟大得到老大姜佶秀的赏识，他为了温饱干脆拜入姜的门下。怎奈世事难料，姜在受伤后金盆洗手，试图退出江湖又身不由己。钟大搭上手眼通天的闵夫人，通过热炒地皮闯出名堂。与此同时，在最初的混战中白勇奇阴差阳错加入敌对帮派，凭着一股狠劲他越做越大，成为帮派中一员不可忽视的猛将。在某次行动中，钟大救下了险些被张德才手下杀害的白勇奇，两个好兄弟久别重逢。20世纪70年代的韩国，政客与黑道沆瀣一气，鱼肉乡民，在散发着腐臭气息的名利场，钟大和勇奇这对曾经的好兄弟也渐行渐远……
回复 :故事发生在日本江户时代中期，冷酷无情的仙台藩财政担当萱场杢（松田龙平 饰）推动出台严苛的税负措施，将财政压力全部转嫁到农民和商人头上。不堪重负的人们或者破产，或者举家逃亡。户籍的流失并未警醒当政者，反而将固有的赋税平摊到留下的人们的头上，使局势进一步恶化。酿酒商谷田屋十三郎（阿部隆史 饰）十分担心家乡的未来，为此他找到号称全町最聪明的菅原屋笃平治（瑛太 饰）商讨计策，进而制定出向藩主放高利贷，并赚取巨额利息的计划。在此之后，十三郎和弟弟浅野屋甚内（妻夫木聪 饰）以及一众好友合力奔走，如果集资目标达成，他们将获得高达一千两的房贷资本。与之相对，一旦计谋败露，二人将面临斩首的命运……本片根据矶田道史收录在《无私的日本人》中的故事《谷田屋十三郎》改编，该故事取材自历史上宫城县的真实事件。
艾可
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
