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魔法坏女巫2
自从艾芙芭(辛西娅·埃里沃 饰)与格琳达(爱莉安娜·格兰德 饰)分道扬镳、形同陌路之后,各自承受她们做出的抉择所带来的后果。 被冠上“西方坏女巫”恶名的艾芙芭遭到放逐后,隐居在奥兹国树林深处,但是却仍然为被噤声的动物争取自由而奋斗,并且迫切地想要揭露她所知道关于奥兹国大巫师(杰夫· 高布伦 饰)的真相。 与此同时,格琳达已经成为奥兹国光鲜亮丽的良善象征,她住在翡翠城皇宫中, 享受她的响亮名声和超高人气所带来的明星光环与特权。在莫里贝尔夫人(杨紫琼 饰)的安排下,格琳达成为奥兹国人民眼中充满粉红泡泡的安抚力量,并且让他们相信奥兹国在大巫师的统治之下一切都很好。 当格琳达的明星光环越来越闪亮,她也准备和费耶罗王子(乔纳森·贝利 饰)举行一场盛大的婚礼,但是她却一直受到她和艾芙芭分开后的阴影所纠缠。她试图促成艾芙芭与大巫师之间的和解,然而她所有的努力都以失败告终,使得艾芙芭和格琳达的关系越来越疏远。她们的关系决裂所造成的影响,将彻底改变博克(伊森·斯莱特 饰)与费耶罗的命运,也将威胁到艾芙芭的妹妹涅莎萝丝(玛丽莎·博德 饰)的安危,而一名来自堪萨斯州的少女也将闯入奥兹国,彻底翻转他们的世界。 当一群愤怒的民众揭竿而起,打算对抗西方坏女巫,格琳达和艾芙芭就必须最后一次携手合作。当她们的友情成为改变她们未来的关键,她们就必须以真心诚意和无比的同理心真正了解彼此,并且改变自己,也让整个奥兹国变得更美好。
穿裘皮的维纳斯
故事发生在一间阴暗人稀的剧院之中,编剧托马斯(马修·阿马立克 Mathieu Amalric 饰)正在为他所改编的剧本《穿裘皮的维纳斯》寻找合适的女主角。接连面试的几位演员都令托马斯感到失望,她们和他脑海里完美的女神形象简直千差万别。面试以一无所获的结局结束了,正当托马斯准备离开之时,一位被淋成了落汤鸡的落魄女郎闯入了剧院。 女郎名叫旺达(艾玛纽尔·塞尼耶 Emmanuelle Seigner 饰),巧合的是,她与托马斯剧本中的女主角同名,可是,旺达粗鲁的举止和浅薄的学识让托马斯在内心里暗暗的否定了她。令托马斯感到惊讶的是,旺达不仅拥有全部的剧本,还自备了戏服,在旺达的一再坚持下,托马斯同意了她想要试演的请求,并且亲自与她对戏。就这样,在瓢泼大雨之中,一场关于男人与女人、命令与服从的好戏拉开了帷幕。
嗨,妈妈!
In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment