恋之涡

　　无比（洪金宝 饰）是巴塞罗那一间侦探社的打手，这天，他的侦探社接到了一单大生意：客人委托他们14天内找到一名叫歌利亚的女子和她的女儿施维亚。因为侦探社的社长侦探在外躲债，而无比又不想眼白白丢了一单生意，于是，他找来在当地经营快餐车的华人青年托马斯（成龙 饰）与大卫（元彪 饰）一起进行调查。
　　通过调查，他们发现歌利亚原来是当地一名富豪伯爵的千金，伯爵已经去世，如果找不到她或者她女儿的话巨额的遗产将落入她的堂兄的口袋，而他们幕后雇主正是这位心怀叵测的堂兄！于是，一幕英雄救美的好戏上演了！

　　一对年轻男女在野泡突然来了外星人将他们抓走，男的被捅屁眼死 ，女的被植入外星婴儿和跟踪器。就是这么个劲爆的开头。
　　外星人节目的性感女主持决定去抢到这个新闻就带领节目小组伙同英国UFO协会会长（一个发福的眼镜男）到了怀孕女所在的偏僻小岛，傍晚进了一座古怪的屋子，全是歌特死亡的摆设，然后闯进来三个怪人，后来才知道原来这就是怀孕女家，那三个怪男人是她不会说英语的兄弟（他们说威尔士语和德国话）
　　后来的故事卖点太多我就不赘述了，总之是经过和外星人斗志斗勇斗运气（哈哈外星人运气太欠了），最终除了一个瞎了的节目小组的男人游泳逃出小岛（哈哈他还穿GOD HATES TREK的TEE）而外星人有关录象带却随海水漂走（怎么像十个小黑人的最后），其他的人都和外星人同归于尽了，特别是一女演员真是表现枪眼（杀杀杀，牛比）还有那UFO会长不仅第一次性经历就操了外星人之母，最终还把外星人的飞船送上了西天，赞一过！
　　最后是外星人的国王王后在那里抱怨地球EVIL ALIENS对他们造成了毁灭打击。。。
　　哈哈像这样的脏乱差糟烂又加上丢脸的英雄主义的片，我能不爱么？OH NOT MY GOD！

生活在夏威夷的富家子陈立品（钟镇涛 饰）个性腼腆，情场始终不得意，于是请来香港的老朋友罗旦多（陈百祥 饰）实地指导。二人在海滩偶遇美女小猫（张曼玉 饰）、阿美（钟楚红 饰），试图搭话却铩羽而归。陈父令陈立品赴港调查下属公司账目，不料陈、罗二人发现小猫和阿美正是陈氏企业职员，陈立品为了查账和接近阿美，与罗旦多互换身份。罗旦多得以接近经理秘书小猫，并与贪污的经理陈皮后（曹查理 饰）虚与委蛇。另一方面陈立品以司机的身份渐渐获得了阿美的信任跟欣赏。担心贪污事发的陈皮后请来爱情女骗子袁飘飘（关之琳 饰），委托她骗取陈立品的感情……

玩特技摩托的男主角科朗奇·卡尔霍恩（库尔特·拉塞尔 Kurt Russell 饰）曾经是个艺术品窃贼，如今也算金盆洗手改过自新。然而在不靠谱老弟尼基·卡尔霍恩（马特·狄龙 Matt Dillon 饰）的怂恿和丰厚利益的诱惑下，打算再干一单大的艺术品盗窃案。科朗奇找回以前的队伍，去偷取一本价值连城的古书。正当一切部署妥当，要开始实施计划的时候，尼基提出了一个更冒险大胆的计划方案。然而两兄弟的如意算盘却并非一帆风顺，他们并不知道，这个团队的每一个人也都为自己盘算着，两人先前的谋划日程也都泡汤了。科朗奇的“收官之作”，又能否顺利进行，盗窃成功呢？

　　一位落魄的原百老汇制片人跟一个“高级经济师”联手，吸引风险投资来排戏，以及如何搞砸这部叫《希特勒的春天》的戏，好让投资都进他们两个人的腰包。未曾想，那部“大话希特勒”版的闹剧大受欢迎，他们的计划也因此暴露，双双上了法庭。

　　影片讲述了不学无术醉生梦死的富二代周晓易（张一山 饰）在父亲去世以后经历了一场"超级宿醉"。醒来之后，发现自己与好友（何云伟 饰）开启了一段如梦非梦的离奇经历。在这段旅途中，他遇到了诸如三川国公主（朴河宣 饰），流民（李菁 饰）等各式各样的人物，同时，懵懂中 的他也被一双看不见的幕后之手推动着，在漩涡中他不断变换着不同的身份，经历了各种奇遇。而在这样的经历中，他也慢慢成长，赢得了众人的尊重，也终于理解了承担与责任的意义，同时，甜美的爱情在向他挥手……

　　43岁的帕姬·苏是一个成功的事业女性，但她的婚姻生活却很失败。她在参加25周年的中学同学会上，突然晕倒，醒来后，发现自己置身于1960年的中学礼堂之中……

　　Sir Robert Chiltern is a successful Government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears in London with damning evidence of a past misdeed. Sir Robert turns for help to his friend Lord Goring, an apparently idle philanderer and the despair of his father. Goring knows the lady of old, and, for him, takes the whole thing pretty seriously.

　　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.