尼古拉斯·凯奇、成年朗·普尔曼、成年阿什丽·格林尼、杰基·厄尔·哈利([守望者])、乔·大卫·摩尔([阿凡达])、格蕾丝·拜尔斯(《嘻哈帝国》)将主演动作新片[退休计划](The Retirement Plan，暂译)。该片由蒂姆·J·布朗自编自导，卡司还包括埃涅·赫德森(《摩登家庭》)、瑞克·福克斯(《生活大爆炸》)、林恩·惠特菲尔德([真爱同心])、塔利亚·坎贝尔。该片讲述阿什利(格林尼饰)和她的小女儿萨拉(坎贝尔饰)遭到一个犯罪集团的生命威胁，阿什利去求助了唯一能帮助她的人——与她疏远的父亲马特(凯奇饰)。马特在开曼群岛过着退休后的海滩流浪汉生活。他们的团聚转瞬即逝，因为他们很快就被犯罪头目唐尼(厄尔·哈利饰)和他的副手波波(普尔曼饰)在岛上追踪到了。随着阿什利、萨拉和马特被卷入一个越来越危险的网络中，阿什利很快了解到，她的父亲有着她一无所知的秘密过去。该片将于本周五在开曼群岛拍摄。
回复 :两个服役期间认识的男人结成深厚的友情，退伍后，一个娶了漂亮的老婆在餐厅里当三流水平却也努力向上的厨师，他在对其总是板起严厉苛求脸孔的妻子面前总是装做一幅忠诚维诺的样子，内心充满了叛逆的因子。而另一个则成为外币买卖界人气日上、前途无量的黄金王老五，表面风光无限，实则内心暴躁脆弱。我，朋友和妻子，两男一女组成的男男、男女和女男等多重复杂的关系，如杂乱的迷宫世界，不全是纯粹的同志爱情，也非真正的婚外遇，连最后的杀人放火的悲剧都不仅仅是发泄心中仇怨那么简单。无心引发的三角拉致关系渐渐走近崩溃毁灭的边缘。人性的丑陋和阴暗面显露出原本的模样，张牙舞爪地考验着每个人的抵抗能力。
山本让二
回复 :为了报复父亲之死，三兄弟闯入当地地主的橡胶庄园。一开始是一个田园诗般的计划，很快就演变成了房东疯狂的儿子手中一场越来越离奇和暴力的生存追逐。
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.
