繁华的吉祥寺闹市街头，欧美一辆公交车突然闯入人群，欧美满身血迹、面目狰狞的青年波多野进（柄本佑 饰）展开了地狱般的残酷杀戮。受害者的凄惨模样，纵使见惯了各种凶杀现场的刑事部鉴定科检视官仓石义男（内野圣阳 饰）心中也百感交集。然而惨案过后，欠下4条人命的波多野最终凭借刑法第39条逃脱了法律的制裁。两年后，与波多野案相关的律师和医生接连遇害，且作案手法相同。搜查本部据此将嫌疑人锁定在当年惨案受害者的家属身上，而仓石在缜密检查后却提出不同的意见，在缺少支持的情况下，他只得率领部下小坂留美（松下由树 饰）等展开独立侦查。在这一过程中，一连串凶杀案背后的秘密渐渐浮出水面……本片根据横山秀夫的同名警察小说改编，是TV剧集的电影版。
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
回复 :1958年的法国。21岁的露丝·庞飞乐（黛博拉·弗朗索瓦 Déborah François 饰）与父亲在下诺曼底共同经营一家杂货店 。小小年纪的她对店里的打字机产生了浓厚的兴趣，常常趁夜深人静时分偷偷练习打字。父亲为露丝安排了与当地维修汽车的男孩的婚事，可是野心勃勃的露丝并不甘于成为一个乡下主妇。怀着对城市生活的向往，露丝前往路易（罗曼·杜里斯 Romain Duris 饰）的保险公司应聘秘书。面试中，虽然路易对露丝的工作能力深表怀疑，但露丝飞快的打字技术令路易感到异常震撼，当即决定录用露丝成为自己的新秘书。但是路易心中也打着自己的小算盘。始终饱受父亲嘲讽的路易决定担当露丝的打字教练，只为了通过让露丝拿到世界冠军来证明自己的能力。露丝为了不回到乡下便接受了路易的挑战。路易化身严酷的教练，对露丝毫不手软；露丝的打字技术倒也突飞猛进。眼见胜利在望，两人却也都感受到了彼此之间微妙的变化。
回复 :纽约警局老干探吉米（布鲁斯•威利斯 Bruce Willis 饰）笃信沉默是金，办案一丝不苟。他有个黑人拍档保罗（崔西•摩根 Tracy Morgan 饰）刚升为探员，自以为奥巴马做了美国总统，腰杆子就硬了。不但对小毛贼颐指气使，而且对老干探也不那么尊敬。因为一张1952年的珍贵棒球卡盗窃案，吉米和保罗联手出击。不过，这次的麻烦似乎没那么容易摆平。在调查中，一连串案件浮出水面，包括墨西哥美女绑架案、黑帮分子毒品交易案等等。这对搭档其实没有经过什么大风大浪，所以这次如临大敌。而且，他们还都出现了后院起火的症状：吉米莫名其妙搞丢了女儿出嫁举办婚礼的一大笔钱，而保罗虽然像只呆头鹅，却被妻子怀疑有出轨劣迹。这种事令两人非常闹心。他们不得不一边办案，一边苦口婆心地对家人解释自己的清白，这种两头忙的窘境快把他们逼疯了……
