家族游戏

　　幕府末期，群雄并起，日本上下动荡不安。在英豪辈出的时代，坂本龙马以其卓越的气魄和超前的思想在历史中占有一席之地。影片则主要描述坂本龙马被暗杀前最后两日的生活。
　　庆应三年十一月十三日，京都下着冰雹，坂本龙马（原田芳雄 饰）栖身于海援队经常落脚之地近江屋。“大政奉还”后局势愈加不稳，此时的坂本已被佐幕派和勤王派双方视为危险人物。无所事事的坂本与妓女厮混，更因手枪不慎走火引来刺客。昔日好友中冈慎太郎（石桥莲司 饰）和萍水相逢的右太（松田优作 饰）放下屠刀，与坂本结为挚友。慎太郎因此入狱，坂本与右太将其救出。后右太被杀，坂本与慎太郎密商逃亡之事的午夜，死神的罗网却已悄悄张开……

　　在浩瀚的宇宙间，有颗名叫“幻域”的星球，上面生存着一支古老的智慧物种。这个种族文明程度极高、而且心地善良，派遣族人穿梭在宇宙间的其他星球上，专为各个星球上的人们了却恒久的执念，在地球上，他们被称为“诛念师”。

《神兵特攻》的故事发生在一个科技高度发达的未来都市。曾经的出色保镖龙威失去妻子后带着受伤的女儿隐居海外，一次见义勇救下了科技公司技术员艾米，对方邀请他到公司参与新产品武装机甲的测试。面试过程中公司启用了最先进的虚拟现实技术。在虚拟现实世界里，龙威为了挽救艾米等科研人员的生命，踏上了未知的梦境之旅…

　　在胡金铨的年表中，《忠烈图》似乎恰成分水岭，此后他对影片中武打场面的经营渐渐递减，开始强调更多形而上的思维。本片描述明朝一群忠义侠士，抵御倭寇入侵的故事，最精彩处在于胡导大量以「棋盘」布阵的创意，藉以比喻敌我双方的对峙。除了徐枫、白鹰等班底，片中还能看到洪金宝、元彪、元华这些后来的武打明星的年轻模样。

Director Gary Hustwit (Helvetica, Objectified) completes his design film trilogy with Urbanized. Exploring the design of cities with the world’s foremost architects, policymakers and engaged citizens, Urbanized frames a global discussion about how the design of our cities affects our lives.

　　Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop?
　　Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.
　　The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.
　　Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.
　　However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.