上海迷雾

近未来，人类工业文明高度发达，智能机器人的技术日新月异，并且正逐渐成为社会运转推动时代进步的重要组成部分。可就在某一天，一枚核弹落在旧金山。人类指控智能机器人制造了这场悲剧，于是拉开了和机器人旷日持久的战争。数年之后，美国耗费巨资打造了名为“游牧者”的舰艇，随时随地摧毁人工智能的巢穴。而在当时，只有新亚洲仍有人工智能的据点。特种部队探员约书亚（约翰·大卫·华盛顿 John David Washington 饰）潜入新亚洲，并与监控的对象玛雅（嘉玛·陈 Gemma Chan 饰）结为夫妇。可在一次行动之后，他与知晓他真实身份的玛雅失之交臂。时间又过了五年，约书亚奉命随队迁入新亚洲寻找人工智能的创造者。可是这一次，他却成为了背叛者……

货车司机马汉强（成龙）赴美向移居美国的骠叔祝贺新婚之喜，知晓其打算婚后与黑人妻子过安静的晚年生活，经营多年的超级市场也已卖给了年轻寡妇Elaine（梅艳芳）经营。由于一见面就对Elaine有好感，马汉强主动协助Elaine打点起业务来。不久，以Johnny为首的一帮朋克党开始恶意捣乱破坏超市，面对他们，马汉强面无惧色勇敢地用起了自己的拳头，同时不忘晓他们以人生大义，然而这波未平那波又起，马汉强又被卷入了钻石赃物被盗的漩涡，受到了黑手党的追杀。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ?Cut Piece?, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ?Cut Piece? entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,?Uncorrupted Joy: International Art Actions,? in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

一个热爱动物的老奶奶，在无力照顾果汁时费尽心思替果汁寻找新的幸福生活，却又在机缘巧合下让果汁感受了不同家庭的喜怒哀乐。