文森特（罗伯特·席安 Robert Sheehan 饰）是一名图雷特综合症患者，视频照顾她的母亲去世之后，视频文森特那久未谋面的父亲出现，将儿子送往了治疗中心，交给了在那里工作的罗斯医生（凯拉·塞吉维克 Kyra Sedgwick 饰）。在治疗中心内，文森特结识了艾利克斯（戴夫·帕特尔 Dev Patel 饰）和玛丽（佐伊·克拉维兹 Zoe Kravitz 饰），前者患有强迫症，后者则是一名厌食症患者。同为病患，三位青年之间结下了坚实的友谊，某日，他们偷走了罗斯医生的车，驱车前往海边悼念文森特的母亲。发现了文森特一行人的“越狱”行为，罗斯医生和文森特的父亲当即联手，对三名“逃犯”进行“追捕”。
回复 :这天，15岁的少年占美阴差阳错的得到了一张球状星空藏宝图。这张地图记录了宇宙海盗搜刮来的巨额财宝的埋藏地点，于是少年占美踏上了一艘巨大的太空帆船，他的太空历险由此开始。占美遇到了船上的厨师约翰，在约翰的帮助下，占美学习到了很多太空人的知识。在一系列的太空历险与战斗中，占美逐渐掌握在太空生存的技巧与法则。当他们越来越接近宝藏时，占美慢慢发现原来自己一路上的好朋友约翰原来是一个阴险狡诈的海盗。面对朋友的背叛，占美将如何是好？
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回复 :第一部超美女主回归，饰演一位从美国回国的伤心少妇，男主借着同学聚会的名义，想把女主搞上床，却惨遭拒绝，可第二天醒来，发现时间循环，又回到了前一天，男主开始了解女主，也慢慢爱上了女主，女主也对男主敞开了心扉，甚至被男主轻易撩上床，而时间循环没有停止...男主女主也是夜夜笙歌...
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.
