5季屌丝男士

六、七十年代的香港，警察贪污，黑道横行，正是陈华（刘青云饰）与喇叭（林家楝饰）、猫仔（张晋饰）及一班兄弟最风光的日子。陈华被视为「慈云山十三太保」之首，气焰高涨；还结识了一生至爱可柔（江一燕饰），共度人生最甜蜜的时光。可惜好景不常，陈华因私下贩毒而被帮会追杀，幸好在亦敌亦友的扫毒组组长哈雷（古天乐饰）帮助下，逃出生天，但却终究法网难逃。出狱后，遭逢父亲病逝及女友可柔失踪，无比自责的陈华，顿然觉悟前非，立志重新做人。他不但积极参与青少年戒毒工作，获得十大杰青荣誉；更把喇叭与猫仔拉回正途，又经常出手调停江湖纠纷，因而深受黑白两道所敬重。某次于日本出席戒毒讲座后，陈华与可柔在街头重遇。他一心再续前缘，但又能否轻易为自己的感情拆弹？

京生在一家精神病医院里做护理工作。起初，他感觉精神病院里的世界是那样的混乱压抑得让人透不过气来，但是渐渐地他开始熟悉并习惯了病人的异常习性，他经常参与到他们的娱乐活动中去，跟他们玩在一块儿，少了很多隔膜。一天，年轻的姑娘纪云被母亲送到医院来。因为床位紧张，纪云的床位不得已被安设在地下室，而京生则负责照看她。京生开始被纪云和她不断重复讲述的梦所吸引：“红珠子，红珠子，满地的红珠子……”——他试图从中找到纪云的“病根”，他想知道那个被不断强调与填充的丰富诡异的红珠子的梦的背后到底隐藏着什么秘密。在这过程中，纪云激烈地反抗他，甚至弄伤了他，但金生却义无返顾不可思议的越陷越深，他们俩的关系也急剧升温……片尾，从冷酷的记忆回到现实的温暖，京生在小饭馆里等着他的恋人——纪云的到来，嘈杂喧闹声中纪云推门进来，坐下，黑场。

1976年清明之后，护士顾秀明乘火车适护送一名年轻伤员到江南要某市治疗。她的丈夫公安人员冯春海奉令拦截张一列从北京开出的火车，追捕一名被通缉的“反革命分子”陈阳。这正好是秀明乘坐的火车，两人在车上意外相见，倍感高兴。秀明为了照顾病人，请丈夫帮忙安排了交通和旅店。当他去旅店见妻子时，秀明已认出了她护送的病人就是丈夫要抓的陈阳。出于正义感，秀明决定保护这位英雄，她把他转移到刚结识的老诗人许朗家里。秀明充满激情，力图说服争取丈夫，但冯春海仍然徘徊不定。后来，冯春海识破了上级给他设下的“诱捕逃犯”的圈套，使他脱离现实斗争的幻想破灭了。终于，他做出了选择，给护送陈阳的妻子开了通行证。秀明在人民群众的帮助下，安全地送走了“四五”运动中的英雄陈阳。

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