广东五虎之铁拳无敌孙中山

理查德（威廉·霍尔登WilliamHolden饰）是一位小有名气的编剧，最近他陷入了麻烦之中，因为制片人艾利克斯（诺埃尔·考沃德NoelCoward饰）交给了他一项几乎是不可能完成的任务——在短短48小时内完成剧本《头埃菲尔铁塔的女孩》。为了加快进度，理查德需要一位精明强干的秘书相助，就这样，名叫盖比瑞拉（奥黛丽·赫本AudreyHepburn饰）的漂亮姑娘出现在了理查德的身边，并且住进了他的公寓。随着时间的推移，理查德和盖比瑞拉之间不可避免地碰擦出了爱情的火花，两人将各自想象成为剧本中的人物，在盲目的激情之中将生活弄得一团糟。终于，约定的期限到来了，可理查德并没有完成剧本，他和盖比瑞拉的感情也产生了裂痕eee

　　原作は、つぶやきシローが2016年に発表した同名小説。地元密着型スーパーウメヤ（大原店）の万年主任・伊澤春男を主人公に、愛する妻や子供たちとのかけがえのない生活、店長昇格への長く険しい戦いの果てに待っていた予想外の結末が描かれるbbb

奎植（权相宇饰）是神学院的学生，他的“崇高理想”就是能当上神父，因此非常纯洁，一次恋爱还未谈过。这名“模范生”却因为一次闯祸而被惩罚到一所乡村教堂修炼。凤熙（河智苑饰）刚从美国回来，她一心一意来和男友相聚，却看到男友已经和别的女子风花雪月。伤心的凤熙喝到烂醉，在奎植的教堂里醉倒。凤熙的叔叔是教堂神父，他下令奎植，一定要救赎凤熙，让她接受神灵的洗礼。这个任务让奎植伤透了神，活泼的凤熙怎样才能接受他的改造呢。朝夕相处中，奎植却发现一件让他更头痛的事：他爱上了凤熙。但是为了他的理想，如此动情却是万万不可的，他愿意牺牲理想去追求一段浪漫的爱情吗…eee

他（尼古拉斯·霍尔特NicholasHoult饰）是一只生活在末世的僵尸，依稀只记得自己的名字里有个“R”。与世俗观念不同，作为僵尸他能够思考，依旧残存着些许生前记忆。R生活在废弃的班机上，喜欢收集唱片和饰品，除了吃人外似乎与常人没有两样。这一日，R和僵尸好友们外出觅食，期间遭遇一伙从隔离区来到污染区搜寻药品的人类。在残忍吞噬青年佩里（戴夫·弗兰科DaveFranco饰）的大脑后，R拥有了对方的记忆，由此也对和佩里同行而来的女孩朱莉（泰莉莎·帕尔墨TeresaPalmer饰）产生恻隐与好感。他将女孩带回自己的住地，通过数日的相处渐渐取得对方的信任，而美丽的朱莉也让R找回作为人类久违的温暖和复杂情感……本片根据艾萨克·马里昂（IsaacMarion）的同名小说改编aaa

洛蒂是个无可救药的浪漫主义者，然而当自私的妹妹突然宣布订婚，她梦想中的完美婚礼计划付诸东流，人生也天翻地覆ccc

Followsthelifeofayoungsterfromcollegetohismarriageeee

　　Acouplerentsacountrysidehouseforaweekendwiththeirparentsandthendiscoverit'sinhabitedbya400-year-oldpoltergeistbbb

　　Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'
　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.
　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.
　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.
　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.
　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...