奶香小馒头6271

Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007Author: 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. (6/10)-from imdb

影片故事灵感均来自1974年法国影片《远行他方》，围绕两个窃贼讲述了一段放荡不羁的天涯之旅......

A day with Ryūe Nishizawa and his Giulia.After the multi awarded « Moriyama San », « Tokyo Ride » is a new step of Bêka & Lemoine’s immersion within Tokyo’s busy daily life. Revisiting the genre of the road movie in a very diaristic and personal way, the film takes us on board of Ryue Nishizawa’s vintage Alfa Romeo (Giulia) for a day long wandering in the streets of Tokyo.More than a portrait, in the classical sense, of one of the most talented and celebrated Japanese architect of today, the film renders in its pure spontaneity the experience of this friendly urban drift.Ryue Nishizawa narrates along the way his strong relationship with his home town through some sites he personally affectionates, buildings that have influenced him, and some of his own architecture projects.The film questions how rooted architecture practice is and how much the built and cultural environment feeds and shapes our imagination.

白天的Karen（梁慧嘉 饰）是某电视频道可有可无的节目主持，晚上她则是一名“蒲精”，常在夜店饮至烂醉到天明。阿文（方力申 饰）是个一个公司的小职员，平时没事就和朋友喝喝酒踢踢球，毫不起眼。一次偶然机会，使得阿文喜欢上了Karen，她欣意接受阿文的约会，与他出双入对。他以为爱情来了，她却视阿文为一名“观音兵”，呼之则来，挥之则去，并说只当他是好朋友，而不是爱情。阿文把自己封闭了起来，后来Karen工作上不顺，感情上也是被抛来扔去的，后来她又接近阿文，一起看电影泡吧看阿文踢球，从不迟到，但是阿文已经不同于以往了，渴望爱情的他们为什么无法在一起呢？