自2002年X档案的六年后，眠昏前联邦探员丹娜·斯科莉（吉莲·安德森 Gillian Anderson 饰）调任某教会医院担任医师，眠昏福克斯·穆德（大卫·杜楚尼 David Duchovny 饰）则过着隐居的生活，继续着对超自然现象的关注。某天，FBI探员前来请求他们的帮助。原来一段时间内，维吉尼亚州接连有数名女子神秘失踪，其中甚至包括一名联邦探员。由于神父约瑟夫（Billy Connolly 饰）声称看到了犯罪画面，因此FBI希望对超自然案件有着丰富经验的穆德和斯科莉协助调查。然而随着调查的深入，穆德和斯科莉却发现案件的黑暗远远超出他们的想象。这对合作多年的搭档面临着巨大的考验……本片为同名美剧的第二部剧场版。
回复 :2017新版媽 媽的朋友，本片講述了兩個好姐妹經常帶着兒子一起玩，卻總是誇對方的兒子好，兒子們不滿，要求換作對方的兒子，而兩個猥瑣的兒子似乎也不隻是想得到**的愛一般簡單，在不經意偷看到阿姨**時自慰時，其中一個兒子終于把持不住了，于是雙方也開始了“母子”激情戰..
赵英俊
回复 :高中生萨迪和妹妹索耶尔沉浸在丧母之痛中，但却无法从身为心理治疗师的父亲威尔身上得到任何安慰。某天一名绝望的病患前来拜访威尔寻求治疗，却意外带来骇人的超自然生物，一连串不合理的事件接连发生，恐惧将吞噬他们一家人。
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.
