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星空影院

一时,冲动
中国大陆汉语普通话2019
杨大伟的情人吴美妮向杨大伟开出五十万元分手费,杨大伟为了省钱,做出了一个冲动的决定…… 憨厚老实的快递男为了偿还债务,签下了杨大伟开出的“演出合同”。杨大伟让快递男扮演一名入室抢劫的劫匪,把五十万分手费抢回来。看似简单的剧情,却发生了意外…… 快递按计划行动,但杨大伟却良心发现要终止行动。争论之时,被捆在卧室里的吴美妮挣脱逃跑,并发生意外身亡。快递男主张报警,杨大伟说自己的公司正在审计准备上市,不能出事;快递男提出撤退,杨大伟却要挟快递男留下善后…… 杨大伟的邻居金链男趁老婆不在家,在手机软件上约了一位美女“超短裙”陪自己共度良宵。可是他没想到,这位美女是专门来“教育”他的。 大力和黑子是美女的同伙,两人在赶往任务地点——金链男家与美女汇合的时候因为酒驾而被警车追击。 由于夜晚光线差,美女误入杨大伟家,当她看到一地血的时候,才知道自己找错门了。美女被快递男捆在卧室,意外升级…… 金链男没等到人,于是出门查看,并怀疑是杨大伟扣了自己的人。杨大伟给金链男开了门,并且和快递男一起制服了金链男,意外再次升级…… 快递男看到金链男很吃惊,因为金链男正是自己的债主。金链男向快递男承诺,只要放了自己,债务就一笔勾销。正在这时,被捆在一边的美女哮喘病发作,当场身亡。金链男趁机冲出别墅。杨大伟和快递男连忙追出别墅,不料却遇见了大力和黑子假扮的“警察”。 杨大伟和快递男摆脱假警察之后,先把吴美妮的尸体搬进后备箱,当搬运美女尸体的时候,二人再次产生分歧,快递男良心发现要报警,杨大伟坚决不同意,并对快递男痛下杀手,快递男自卫。 拉着美女的出租车司机,来给美女归还落在车上的手机时,不小心撞到了装有尸体的豪车,后备箱盖被撞开,尸体被发现…… 追着酒驾而来的警察,成功抓获了大力和黑子两名酒驾的假警察,刚要收队,听到了撞车的声音,于是立即赶往现场,终止了这场闹剧。

星空影院

镜子的另一面:纽波特民歌艺术节1963~1965
美国英语0
"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

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