西门庆影院

弗兰克（瑞安·(💴)雷诺兹(zī ) Ryan Reynolds 饰）(🎿)是(shì(🖨) )一位小有(⛱)名气(🎅)的作(zuò )家(🗨)，他(tā(🐵) )所撰写的《五分(😟)钟效率(lǜ )训练》在年轻(qīng )人之间(⬜)引起(qǐ )了很大(🔫)(dà )的(🚉)反响。在生(🎱)活中(⌛)，弗(fú )兰克(🍀)同(tó(🎠)ng )样是一(yī )个注(🏡)重效率(lǜ )和计划(huá )的人，在他的(🎆)世界里，每一分(😊)(fèn )钟(🚯)每一(yī )秒(🐃)每一(🐼)件事(shì )的(🐁)发生(🐰)(shēng )都经过(guò )了(🗽)他精心的策划(📵)和安排(pái )，绝无(wú )意外的发生(shē(🔨)ng )。 “二(èr )战”时(shí )期(💴)，盟军(🤜)要实施安(🍛)奇奥(🐍)(ào )登陆计(🍺)(jì )划(🐃)，迫于对一门叫(💺)(jiào )安奇奥(ào )大炮的超级武器的(🚥)忌惮(dàn )，要派(pà(🗡)i )两个(🚎)精(jīng )锐特(🚯)工去(📯)摧(cuī )毁这(🎌)门(mé(🎍)n )大炮，结果两个(🥔)傻逼被(bèi )派了去(qù )，最后(hòu )经过(😣)一连串(chuàn )搞笑(😽)事(shì(🕵) )件，阴差阳(🛤)错的(🐄)最后完(wá(🍀)n )成了(🎻)任(rèn )务。 暴(bào )风(🕊)雨来临的(de )一晚(⏱)， 闪电下(xià )清楚地看见一个小男(🖍)孩(hái )在农场(chǎ(🎌)ng )的一(🔁)棵大树(shù(🏕) )下躲(🖋)雨(yǔ )。这个(🦃)(gè )孩(🕖)子叫米卡。 他的(🌮)来到(dào )，将会(huì )怎样改变艾琳娜(🦕)和(hé )她祖母(mǔ(🤦) )卡瓒(📘)的生活呢(📿)? 艾琳(🧀)娜现(xiàn )在(🏗)有着(🛋)(zhe )非常幸(xìng )福的(🕷)生活，爱她的(de )未婚夫和疼她的奶奶。但是她(tā )却(🍗)发现(🎰)(xiàn )，米卡身(🦗)上(shà(🎸)ng )居然有(yǒ(💩)u )一块(➰)她家的绣布，而(👒)这(zhè )使她陷(xià(🍘)n )入了痛(tòng )苦的回忆中(zhōng )。 基洙(zhū(🛺) )（金炳(bǐng )哲 饰(🧒)）和(🆒)钟大（刘(🧙)亚仁(🏠)(rén ) 饰）是(💂)(shì )情(🎤)同手足的(de )兄弟(🍷)，两人从(cóng )小就失去了父母，视彼(🎈)(bǐ )此为唯(wéi )一(🌜)的港(🤥)湾和依靠(💎)。基洙(🚟)性(xìng )格老(💨)实稳(📠)重，他勤勤恳(kě(😥)n )恳地干(gàn )着辛苦(kǔ )的工作，只(zhī )为了能(néng )够攒(🆘)下钱(🏰)来维系他(🏤)和弟(👋)(dì )弟的生(💑)(shēng )活(🐷)。尽(jìn )管现(🚑)实如(🔫)此(cǐ )苍白，但基(😯)洙心中的梦想却从(cóng )未褪色(sè(🎢) )，他知(zhī )道，只要(🐓)继(jì(🧠) )续努力(lì(👈) )下去(📦)，有朝一日(🕑)，他定(🌼)能够在(zài )马尔(🐴)代(dài )夫开一场只(zhī )属于他(tā )一(🚯)个人(rén )的个人(🎽)演奏(✈)会。 在同事(🦗)(shì )的(🦒)眼里(lǐ )，布(🎦)雷特(🚝)（莎拉·米歇(🎠)尔(ěr )·盖拉 Sarah Michelle Gellar 饰）是个普通又(yòu )平凡的(de )女孩，除(📞)了矜(💓)矜业(yè )业(🚦)的工(🆑)(gōng )作外，她(✅)的全(😫)部生活就(⭕)(jiù )是(⬇)和家(jiā )人与男(📹)(nán )友杰德（克(kè )里斯·卡马克(💺) Chris Carmack 饰）一起度过(🍭)。一次(🔞)工(gōng )作中(⛄)，布雷(🌰)特结识(shí(🕶) )了出(⏯)版(bǎn )界的钻石(🔃)王老五阿奇（亚历克(kè )·鲍德(🦄)(dé )温 Alec Baldwin 饰），被(bè(🌿)i )布雷(🏙)特(tè )的天(📹)真(zhē(🤴)n )和单纯所(✴)吸引(🌮)，阿奇随(suí )即向(🔳)布(bù )雷特展开了火热的(de )攻势。 Sci-fi is a rapidly changing genre. It loses impact even more rapidly than horror. Therefore it's virtually impossible to see a sci-fi movie from the past (from the pre-space period, i.e. late 50s) that isn't laughable in some sense. First serious sci-fi epics appeared in the very early 50s, and bearing in mind the first space yarn was filmed by Melies in 1902, we get about 50 years of sci-fi without the very basic concepts of space travel. Where The Trip To The Moon can be dismissed as a funny experiment, The Trip To Mars cannot. This is a serious film. The makers didn't know about weightlessness or the absence of atmosphere in space, plus about a hundred more things we know today. That was the period, when everybody was raving about the channels on Mars, so they naturally assumed there was intelligent life on that planet. Melies shows frogmen and other strange creatures on the Moon; in 1924 there appears the still popular tinfoil dress for Martians in Russian film Aelita. So, in between, we get the Egypto-Greek fairy-tale world of this film: wise old priests being wise; and virgins prancing around, praising virtue in the world, where virtue obviously is as normal and unnoticeable as metabolism. Enter the Earthlings, introducing death and sin. Well, nothing spectacular follows: they soon are "cured" and learn the ways of the righteous. This film is a total orgy of enjoyment. The double feature released by the Danish Film Institute (together with a disaster film from 1916, The End Of The World) boosts their usual superior quality. The Danes began storing and archiving their films very early, so you get a very clean second generation copy from a period when most of US films withdrawn from circulation went to the glue or comb factory. It's a pity this film with so many different locations isn't color tinted. The rather uninspired piano accompaniment, another trade mark of the series from the DFI, tends to grow a bit tedious too. But nevertheless, a remarkable film and something you can show to your friends without being afraid that they'll think you're a weirdo.