掌脸

　　年轻时的小查理·帕克初到纽约时不过是一个普通的乐手，但是潜在的天份和不屈的性格，使他的萨克斯管演奏越来越受到人们的欢迎，他也因此小有名气，并获得了一个漂亮的称号"火鸟"。悠扬的乐曲伴着鲜花和掌声使帕克渐渐沉迷，坎坷的经历和人生的沉浮使帕克在精神上迷失了方向，他渐渐染上了毒瘾。深爱他的妻子决定不惜一切代价帮助火鸟重新站起来……
　　好莱坞巨星、著名导演克林特·伊斯特伍德在这部影片中融入了他毕生对爵士乐的热爱，在演员精湛演技的配合下，此片一举荣获奥斯卡最佳音响奖，戛纳国际电影节最佳演员奖、金棕榈奖提名，金球奖最佳导演奖、最佳表演奖提名，纽约电影评论协会最佳女配角奖等。

　　在一个正港台客面包师傅，遇到了来自英国的贵族面包师傅，为了追求心爱的女孩，展开正面对决。两个男人，乡村面包店的土洋大战，谁输谁赢，口味将决定一切.......
　　糕饼（陈汉典 饰）是一间位于在高雄乡间“源晨面包店”的面包师傅，和店长邱爸（廖峻 饰）的女儿晓萍（陈妍希 饰） 是从小到大的青梅竹马。非晓萍不娶的糕饼，有一天晚上精心筹划了一场求婚惊喜，但晓萍心中一直有个渴望实现的梦想，因此面对糕饼的求婚仍旧不为所动。 这天，平静的面包店，来了一位帅气的混血王子布莱德（倪安东 饰）。身为国际美食旅游节目主持人，同时也是米其林三星餐厅主厨，布莱德为了寻找灵感，决定找出母亲生前最爱的面包，而来到这个纯朴的小镇。他对晓萍一见钟情，晓萍虽心有所属，但是，布莱德做的欧式面包，以及他浪漫温柔的举止，意外地搅乱晓萍和糕饼的生活。 在晓萍无心插柳的安排下，布莱德以房客的身分，和糕饼一起住在面包店顶楼，并成为糕饼的学徒。眼见晓萍与布莱德的感情越来越好，布莱德甚至要带晓萍离开台湾前往法国实现她的梦想！
　　为了留住晓萍，糕饼决定接受健生嫂（陈盈洁 饰）的提议和布莱德来一场以“台式面包PK欧式面包”为主题的面包大赛。深情贵公子与认真黑狗兄的东西烘焙大对决，晓萍最终选择的是？.......

　　日活暴力粉紅導演長谷部安春1967年的作品，並以藤井鷹史之名參與撰寫劇本。宍戶錠、藤竜也和岡崎二朗飾演的黑田家三兄弟反抗殘酷黑幫組織的，最後的決戰由長男單槍匹馬大戰敵人，更是硬派的動作場面中的經典場面。

　　一名孤身穿越明尼苏达北境雪原的女子，意外撞破少女绑架现场。百里荒原杳无人烟，暴雪割断通讯网络，她成为深陷绝境的少女唯一生机。

　　2005年，南北朝鲜联合制造了核武器“飞击震天雷”，但迫于国际列强的压力，韩朝不得已交出核武器，民族强盛的愿望眼看再次落空。朝鲜少校江民吉（金胜宇 饰）不甘心屈服，掳走参与项目的金博士（孔孝珍 饰）与飞击震天雷，韩方派出少校朴政宇（黄正敏 饰）带队追索，正当两方相遇之时，一颗彗星划过天空，江、朴等人彗星的强大力量影响下透过扭曲时空来到了1572年的朝鲜……
　　江、朴等人机缘巧合将正在屠戮朝鲜人的女真人慑退，被朝鲜先民视为“天军”。当夜，一名小偷偷走了他们的武器，而这名小偷，居然是朝鲜民族英雄——李舜臣（朴重勋 饰）。此时的李舜臣武科落榜，万念俱灰，面对失意的民族英雄和倍受女真欺凌的先民，穿越时空的韩朝两方军人们为了各自的信念开始战斗……

　　Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.
　　Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)
　　As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.
　　The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).
　　Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.