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　　Marg Duffield (Lee Remick) is the Maine wife of Al (Joseph Sommer) whose daughter Peg (Marlee Matlin) is deaf. Peg's husband is killed in a car accident on the way to visit the Maine house, and the Duffield's take in Peg's six year old daughter, Lisa, while Peg recovers. Since Lisa is a speaking child, Marg thinks of her the way she wanted Peg to be, and seeks guardian custody.　　Remick's role is secondary to Matlin's, though she is presented as a tragic figure, particularly as Al refuses to help her plan to gain Lisa. Peg's deafness is said to be from a childhood case of spinal meningitis, and the teleplay by Louisa Burns-Bisogno, with story by Louisa and Tom Bisogno, reduces Remick to a textbook mother who is self-hating from guilt and therefore cannot love her own daughter. In a memorable scene, Peg angrily signs her exit to Marg, since Marg has refused to learn sign language, though Peg has learned to speak for her mother.　　The treatment uses the Tennesee Williams play, The Glass Menagerie, for therapy, to help Peg overcome her grief and also Marg `lose her unicorn horn' and embrace her daughter. Whilst Peg choosing to act in this play may seem an odd choice for someone grieving, what is more noticable is that Matlin is far too more glamourous to be believable as Laura. The Bisogno's include Michael O'Keefe as Dan, Peg's deceased husband's best friend and director of Actors Theatre for the Deaf, to offer Peg a new romantic interest, and thankfully she rebukes his protestations of love. Although his opinion may be influenced by his `crush', Dan tells Peg that being different is better than being normal, since the normal ones are as `common as weeds'. This philosophy reads as rather Nietzschean, on the level of artists not being restricted to the common moral code.　　Director Karen Arthur either has those signing also speaking or those signing being translated for the audience, though in one scene the sound of lapping waves drowns out the dialogue between Dan and Peg. She also gives Matlin some good moments, one being her scream of horror when she hears the news of the death of her husband, and another when she chases Remick down a flight of steps, hitting her.

The directorial debut of Korean superstar Jung Woo-sung (The Good, The Bad, The Weird) has everything you crave in a modern thriller: hi-octane action sequences, memorable characters, and Jung himself in the leading role.

丹从海边醒来,跑到城里看不见人影,好不轻易两自我被棒打一顿。他们此时才发明处于一个丧尸的天下。Dan wakes up on a beach with no memory. He discovers an empty city ravaged by a deadly virus. After befriending a small group of survivors it soon becomes clear the army are hunting him down, and the group are forced on a dangerous journey to escape.

This1992Japanesefilmtellsthestoryofascientistwhosetsouttocreatethenew"superAdamandEve",humanswhocannotbecontrolledbytheiremotions.Ofcourse,theendresultitnotexactlywhatthegooddoctorexpects.commentsfromimdb:Thismoderntaleofanattempttobuildacreatureisoneofthebest"horror"filmsevermade,evenifitsnotahorrorfilmbutsomethingelseentirely.Certainlyitsonmyshortlistofalltimegreatfilms.Thisfilmwasintroducedtomebysomeonewhotoldme"Ihavethisfilmthatprobablyoneofthebestfilmsyou’lleversee.Itwillmoveyouandtouchyouandmakeyouthink,butifItoldyouwhatitisandtoldyouhowitsdoneyouwillthinkitsthestupidestthingonthefaceofitandyouwon’twatchit."IntriguedIaskedwhatdidhemean,andhesaid,"WellitsaFrankensteinstory,withaverygoofysortofedge,butwhichusesittoitsadvantage."Myearsperkedup,andIbeingatrustingsoultookthetapeandwatchedit.Iwasblownaway.TheplotconcernsamadscientistattemptingtomakeanewAdamandEveinthewakeofasuicidalplaguethatisravagingtheworld.Lockedupinhislabhisexperimentsgodifferentlytheneitherheorweexpect.Someofitissilly(Theboltsintheneck,thewrestlingmoves...),allofitistouchingandthoughtprovoking.Icannotrecommendthismovieenough.IfyouarewillingtotakethefilmonitstermsandallowittotellitsstorythenIurgeyoutoseekthisfilmoutandseeit.Thisisanundiscoveredgemthatwillstaywithyouforever.15outof10andthensome.10/10Alsoknownas"TheLastFrankenstein",thisisanextraordinary,impeccablyproducedhorrorfilm.DirectorTakeshiKawamurausesMaryShelley’snovelasamerelaunchingpadforanexplorationofsubjectsasdiverseandfascinatingasthenatureoflove,desire,suicide,masshypnosis,sex,alienationandjealousy.Andthoughthefilmisdensewithsubtext,itisalsostunninglyphotographedandrichinatmosphereanddetail.TheperformancesareallamazingandKawamura’ssensitivehandlingofthestrange,delicaterelationshipsbetweenthecharactersresultsinanemotionallycharged,angst-riddentragedy.Thescenesoftheconfused,troubledmonsterhurtlingthroughafog-shroudedforestatnightarememorableandstriking,asisabrillianthomemovie-stylemontageofthefilm’smorecuriouscharactersenjoyingapreciousafternoonatthebeach.KawamuracreatesresonatingvisualpoetryofhorrorandsadnessbarelysightedsinceToddBrowning’sclassic"Freaks".Intelligent,emotional,tragicandreal,thisisanabsolutegem.9/10

Valparaíso, Chile, 1933. Years of psychiatric treatment and a seemingly happy marriage will not take away Elisa's memory of that youthful love. So, when some years later, Rebecca becomes a beautiful feminist, Elisa's fragile world will collapse in front of her eyes. 美丽少女与她的同性恋倾向主治医生婚后又与学生时初恋女伴重逢的故事。画面美丽，结局可怕。

With only nightmares for childhood memories, Lily Stone returns to her family home to find out what happened to her parents. Despite the locals' warnings about an evil presence cursing the house, Lily crosses the threshold and discovers not all the ghosts that haunt us are dead.

An English girl has her life uprooted by her mum the last year of High School. As if it wasn't hard enough leaving behind what is familiar, this small American town holds past memories for her as she spent years there as a child. Although, the hazy recollections and past history are only a small piece in the uncertainty of teenagehood.

First-timefeaturefilmmakerRebeca“Beba”Hunttundertakesanunflinchingexplorationofherownidentityintheremarkablecoming-of-agedocumentary/cinematicmemoirBEBA.ReflectingonherchildhoodandadolescenceinNewYorkCityasthedaughterofaDominicanfatherandVenezuelanmother,Hunttinvestigatesthehistorical,societal,andgenerationaltraumashe’sinheritedandpondershowthoseancientwoundshaveshapedher,whilesimultaneouslyconsideringtheuniversaltruthsthatconnectusallashumans.ThroughoutBEBA,Hunttsearchesforawaytoforgeherowncreativepathamidalandscapeofintenseracialandpoliticalunrest.Poetic,powerfulandprofound,BEBAisacourageous,deeplyhumanself-portraitofanAfro-Latinaartisthungryforknowledgeandyearningforconnection.

Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007　　Author TimothyFarrell from Worcester, MA　　Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.　　The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610)　　-from imdb

Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.　　Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...　　Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.　　The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.