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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archiving their films very early, so you get a very clean second generation copy from a period when most of US films withdrawn from circulation went to the glue or comb factory.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. 不堪(💁)忍受奥(ào )林匹斯(🥌)众神(shén )残暴(🍛)压迫的(de )阿戈斯国王(wá(💧)ng )亚克(🎒)里斯（(🗄)Jason Flemyng 饰）(🎨)奋起反抗，对至高无上(🚎)(shàng )的神明大(🐊)为(wé(🌌)i )不敬。在(👰)冥(mí(👄)ng )王哈(hā )迪斯（拉尔夫(🕡)·费(fèi )因斯(😀) Ralph Fiennes 饰）的怂恿(yǒng )下，天神(🍾)宙(zhò(🐧)u )斯（连(😯)姆·(😕)尼森 Liam Neeson 饰）决(🧥)(jué )定对愚蠢的(de )人类(lè(⛩)i )施以(🥃)惩罚。遭(🦗)遇海(🔃)难流(liú )落到阿戈斯(sī(🏚) )的青年珀修(🤡)(xiū )斯（萨姆·沃(👐)辛顿(🍄) Sam Worthington 饰）是宙斯和亚(🍠)(yà )克里(lǐ )斯(🕺)的皇后生(shēng )下的半神(✂)，他亲(🏫)眼目睹(🐹)(dǔ )哈(🥒)迪斯所施(shī )下的恐怖(💺)神迹，并得知(👛)哈迪(💰)(dí )斯将(🌶)释放(🏗)北(běi )海怪兽克拉(lā )肯(🌠)惩戒世人(ré(👰)n )，除(chú )非亚克(kè )里斯将(📠)美丽(👵)(lì )的公(✈)主安(➗)德鲁美(měi )达(📮)（艾莉克(kè )莎·黛沃(🏇)洛(luò(👇) )斯 Alexa Davalos 饰）(👉)作为(🔽)(wéi )牺牲献给众(zhòng )神。在(🥓)女神爱娥(é(🚙) )（Gemma Arterton 饰(😒)）的点(diǎn )拨(✡)下，珀(🤰)修(xiū )斯知晓了自(🧞)(zì )己的身世(🏿)与(yǔ )使命，于是(shì )决定(👕)启程(🍭)杀(shā )死(😣)北(bě(📸)i )海怪兽并摧(cuī )毁哈迪(📄)斯的(de )阴谋…(💼)… 汤(🛹)(tāng )米的(🐣)父亲(😸)因(yīn )病住进医院,苦心(😪)(xīn )经营的农(😹)场(chǎng )负债累累.回(huí )到(✌)阔别(🏥)十年(niá(💢)n )之久(🏳)的家乡(xiāng ),汤(🏸)米(mǐ )重遇昔(xī )日恋人(👯)妮可(🏅)(kě ).但是(👵)物是(🥝)人非,她(tā )已为人妇.妮(🤧)(nī )可的儿子(👿)萨(sà(😍) )斯卡与汤米(💶)(mǐ )十(🖤)分投缘.在(zài )激烈(🗻)(liè )的争吵中(😇),父(fù )亲将实情脱(tuō )口(🌀)而出(🐇):萨斯(sī(🈳) )卡是(🍑)汤米和(hé )妮可的儿子(🗡)(zǐ ).对于汤米(🧟)的(de )离(😲)开,父亲(🕑)一(yī(🏭) )直耿(gěng )耿于怀加之(zhī(🏃) )农场经营不(🐶)(bú )善,两人总是(shì )争吵(🌓)不休(🌡).汤(tāng )米内心(🈳)苦闷,却从(có(🥢)ng )女友萨拉那(nà )里得不(🔗)到安(🈴)(ān )慰…(🔶)最终(😄),在(zài )朋友的帮助(zhù )下(😾),汤(tāng )米使父(🍡)(fù )亲(⬆)的农场渡(dù(🎰) )过危(📞)机,自己也得(dé )到(🎞)了众人的(de )原(➗)谅 . 不堪忍(rěn )受奥林匹(🖖)斯(sī(⭕) )众神残(🚩)暴压(📹)(yā )迫的(de )阿戈斯国王(wá(♓)ng )亚克里斯（(📘)Jason Flemyng 饰）(🏬)奋起反(🌩)(fǎn )抗(😴)，对至高(gāo )无上的神明(⛏)(míng )大为不敬(🥫)。在冥王哈迪(dí )斯（拉(🙄)尔夫(📠)·费(fèi )因斯(🐶) Ralph Fiennes 饰）的(de )怂恿(🕕)下，天(tiān )神宙斯（连(liá(🎧)n )姆·(🔘)尼森 Liam Neeson 饰(⏰)）决(🚽)(jué )定对愚蠢的(de )人类施(🈂)以惩(chéng )罚。遭(🛅)遇海(👪)(hǎi )难流落到(🕓)阿(ā )戈斯(sī )的青年(niá(🎆)n )珀修斯（萨(📻)(sà )姆·沃辛顿 Sam Worthington 饰）是(🔺)宙斯(✔)和亚(yà(🐁) )克里(🕢)斯的皇(huáng )后生下的半(bàn )神，他亲眼(💶)(yǎn )目(⌛)睹(dǔ )哈(👱)迪斯(🖲)所施(shī )下的恐怖神(shé(🕷)n )迹，并得知(zhī(🗜) )哈迪斯将释(shì )放北海(🏬)怪兽(shòu )克拉肯惩(😨)戒(jiè )世人，除(🍤)非(fēi )亚克(kè )里斯将美(😸)丽(lì(🛋) )的公主(🚶)安德(🛀)(dé )鲁美达（艾(ài )莉克(🗑)莎·黛(dài )沃(😿)洛斯(🕝) Alexa Davalos 饰）作为(wé(💾)i )牺牲献给众(zhòng )神。在女(🤬)神(shén )爱娥（(🆖)Gemma Arterton 饰）的点拨下，珀修斯(👊)知晓(🧠)(xiǎo )了自(🎽)己的(😈)身(shēn )世与使命，于是(shì )决定启程杀(🌪)(shā )死(📭)北海怪(👠)兽(shò(🚘)u )并摧毁哈迪(dí )斯的阴(🔳)谋…… 佐(zuǒ(🚬) )汉·德沃（亚当·桑(🀄)德(dé )勒 Adam Sandler 饰）是一(🚽)(yī )名供职于(💊)以(yǐ )色列情报机(jī )关(🛥)摩萨(📐)德的(de )特(🔬)工人(⏭)员，他身(shēn )手矫健，力(lì(👖) )大无穷，而(é(🥔)r )且天(🥂)赋异秉(bǐng )。闲(😨)暇时沟(gōu )女享乐，优哉(📩)游(yóu )哉；接(🚹)到任(rèn )务时，便披(pī )挂(💬)上阵(💁)与来(lá(✊)i )自巴(🤘)勒斯坦(tǎn )的恐怖分子(zǐ )展开惊险(🌔)刺(cì(🔛) )激的对(🐧)决。他(🥅)干(gàn )掉的对手不(bú )计(📒)其数，俨(yǎn )然(🔮)一个新时(shí )代的救世(😚)主。但(dàn )是谁都想(🚝)不(bú )到，这个(🐌)阳(yáng )刚味儿十足(zú )的(⛸)爷们(🐾)儿心(xī(😱)n )中竟(🏖)然有着(zhe )当美发师的(de )梦(🎎)想。他早已厌(🆎)(yàn )倦(🤙)了打打杀(shā(㊗) )杀的生活，渴望为了自(🎶)(zì )己的理想(💷)而(ér )努力。 故事发生(shē(🕔)ng )在伦(😎)敦一所(💔)(suǒ )破(😨)旧的公寓(yù )中，那里住(zhù )着三个年(🤶)轻(qī(🔎)ng )人——(⛰)AK（尤(🎫)(yóu )金·哈茨 Eugene Hutz 饰(shì )）、(♋)霍利（赫丽(🚍)(lì )·威斯顿 Holly Weston 饰(shì )）和(💞)朱丽叶(yè )特（薇(🏕)琪·麦克卢(🌸)尔 Vicky McClure 饰）。AK拥有着成为(wé(🗯)i )摇滚(🐫)巨星的(🖕)(de )梦想(✴)，同时(shí )，醉心于霍(huò )利(😜)的他希望(wà(👼)ng )某一(💆)日能够(gòu )得(😈)到后者的垂青(qīng )，而热(🕚)爱芭(bā )蕾舞(🤝)的霍利(lì )一心做着进(📎)(jìn )入(⚪)皇家芭(🗓)蕾(lě(🥗)i )舞团成为职业舞(wǔ )者的美梦。朱丽(🍄)叶特(🍨)则(zé )希(💒)望有(😈)一天(tiān )能够远赴非(fē(🐜)i )洲，帮助那(nà(🤔) )里的贫困儿(ér )童。 A typical Nazi-era melodrama, The Comedians features a strong-willed female protagonist who refuses to live according to the rules of society. Naturally, such revolutionary behavior must be punished by death and the film's Karoline suffers the fate of so many heroines of the Third Reich. That this heavy-handed nonsense was directed by the same genius who gave the world Pandora's Box (1928) is nearly incomprehensible but, if nothing else, The Comedians offered employment for Henny Porten, a silent screen star otherwise more or less blacklisted by the regime. To her eternal credit, Porten delivers a finely tuned performance despite what must have been extremely difficult circumstances.