伦敦巴拉德街区的一群小混混莫斯、视频丹尼斯和卡文等人在夜色中打劫了女护士萨姆，视频正在他们作案时，一不明生物从天而降，将莫斯咬伤，萨姆趁机逃脱愤怒的莫斯将这只非猿非犬的小生物杀死，带着尸体拜访种植大麻的朗与高帽等人，在得知该生物可能是外星来客后，莫斯萌生了赚钱的念头，但在他们出门后形势急转直下，先是天空降下大批体型庞大的同类生物，而后莫斯又被萨姆带来的警察逮捕，一番混乱中，莫斯与同伴逃出，因为半路冲撞了高帽的车子不得不躲在萨姆家中，以此避开外星怪兽、高帽和警方的追踪。莫斯率领众伙伴试图保卫街区但只能在怪兽的追逐下亡命奔逃，而且更糟糕的是，这些怪兽的主要目标似乎是杀死了小怪兽的莫斯……
回复 :该片讲述已经分手的恋人“善花”和“度英”作为电影外景管理人和导演在釜山再次相遇后的故事。
李俊基
回复 :乡村小医生杨逸机缘巧合之中卷入乔兰未婚夫大志暴毙的离奇案件。神秘的歌声，鲛人泣珠成泪的传说，怪异的玉梳将杨逸一步步引向神秘的河底，在案情逐渐明朗之际却屡屡遭到神秘力量的阻拦与破坏。杨逸无意之间得到神仙姐姐的指点，逐步解开谜团，拯救神仙姐姐，成为一代超级小郎中。
回复 :Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.Roger Philip Mellor
