Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'
　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.
　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.
　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.
　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.
　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

　　中國過去就是被政府顢預(yù)無能而再飽受被日侵華之創(chuàng)傷，歷史的殘骸道出了千萬民族凄厲之悲歌，劫后余生的唐家國在戰(zhàn)亂中和唯一的姐姐也失散了，戰(zhàn)爭遺留下的烙印使他一生也刻骨銘心。他憑個(gè)人堅(jiān)毅意志奮力苦學(xué)，在事業(yè)上奠定了很有成就之人物，并將戰(zhàn)時(shí)日軍罪證揭發(fā)公諸于世。

　　本片系臺(tái)灣龍族影業(yè)有限公司1986年出品。

　　雨夜，華盛公司保險(xiǎn)柜被撬。幾天后公司要員林森攜重要文件在一起蓄意車禍中失蹤。晚報(bào)記者沈丹丹拍下車禍照片。刑警隊(duì)長羅浩將某公司經(jīng)理劉威龍列為重要嫌疑對(duì)象。一天兩個(gè)青年潛入沈丹丹宿舍，欲偷竊罪證照片，被羅浩和沈丹丹嚇走。原來，簽合同上當(dāng)?shù)膭⑼堜b而走險(xiǎn)綁架了林森。羅、沈二人趕到藏匿林森的倉庫，差點(diǎn)被狡猾的劉威龍炸死。羅浩緊追劉威龍，兩人在海邊展開搏斗。眾刑警趕到將劉威龍抓獲。沈丹丹和羅浩兩人逐漸擦出了愛的火花

　　二戰(zhàn)前夕一個(gè)狂野的探險(xiǎn)家在非洲乞力馬扎羅山附近尋找失落的鉆石礦 納粹也正在尋找鉆石礦準(zhǔn)備為希特勒的野心計(jì)劃計(jì)劃提供強(qiáng)大的資金。

　　南方邊陲小鎮(zhèn)，綽號(hào)“釘子李”的老人自恃棋藝高超，他將老將釘在棋盤上，聲稱無人能令他拔釘挪將，獨(dú)孤求敗。在那個(gè)特殊的時(shí)代，百萬青年上山下鄉(xiāng)。小鎮(zhèn)新來的書記（牛犇 飾）輸棋后憤憤不平，派下屬去城里尋找擅長琴棋書畫的人才。外號(hào)“棋呆子”的北京青年王一生（謝園 飾）稀里糊涂成了破壞文化大革命的現(xiàn)行反革命，最后被尋找他的人救了出去。他似乎對(duì)所要去的地方根本沒任何想法，只要有飯有棋就一切都好。“何以解憂，惟有下棋?！贝糇右恍闹辉谄寰?，他將在那個(gè)陌生的所在和各路高手留下令人神往的對(duì)決……
　　本片根據(jù)阿城的同名小說改編，并榮獲1989年度金雞獎(jiǎng)最佳男演員獎(jiǎng)（謝園）。

　　搶孤是一種廟會(huì)活動(dòng)。通常在每年的夏季舉行。臺(tái)灣部分民間在中元節(jié)普渡后，會(huì)將祭祀的供品提供民眾搶奪，稱為「搶孤」。一種說法是為了與孤魂野鬼搶奪祭品，另一種說法是為了嚇退流連忘返的鬼魂。案例“搶孤”在我國的一些重要的傳統(tǒng)節(jié)日中也得到廣泛的運(yùn)用。如中國的“盂蘭盆節(jié)”又稱“中元節(jié)
　　拳師蘇望達(dá)受日本人佐佐木指示，開設(shè)搶孤大會(huì)，受到阿善師等愛國人士強(qiáng)烈抵制，阿不幸死在蘇手中，其徒弟連與何及西羅七劍等人最終沒讓佐與蘇等人的陰謀得逞，捍衛(wèi)了自己的民族尊嚴(yán)，打敗了蘇，佐也戰(zhàn)敗自盡。
　　“搶孤”是臺(tái)灣的一項(xiàng)祭祀亡靈的活動(dòng)！后來成為權(quán)勢(shì)者鏟除異己的工具……本片由 張人杰執(zhí)導(dǎo)，龍?zhí)煜?、云中岳、董力主演?/p>

　　大眼仔生于小康之家，自小得到父親疼愛。生活無憂的她，不專心向?qū)W，卻與好朋友肥妹及雅婷到處搗蛋，令校方非常不滿。為要她們改過，教師決定送她們進(jìn)勞改訓(xùn)練營，但大眼仔等人不止不悔改，還變本加厲，屢次羞辱老師包Sir，使包Sir心灰意冷。期間大眼仔暗戀Peter，并自我陶醉于戀愛夢(mèng)中，但原來Peter與雅婷已是一對(duì)，大眼仔深感失望。
　　回到學(xué)校后，眾人搗蛋如故，更誤將包Sir深愛之鸚鵡弄死，包Sir忍無可忍，痛罵她們一番后，因刺激過度而精神失常，眾人方后悔自己不是。大眼仔心情低落之際，碰見Peter敗在情敵手上，她立即上前安慰。因而得到對(duì)方所愛。大眼仔正要開心不已，卻見雅婷已返回Peter身邊，少女情懷深受打擊，明白唯有父親最關(guān)心自己。

　　除夕之夜，出租車司機(jī)趙威看見女友莉莉與外國人摟摟抱抱，心中很是不快，怒火中燒，車也失去了控制，正巧與迎面駛來的宋琪兄妹的摩托車撞在了一起。趙威原來想逃跑，后來由于良心的譴責(zé)，他掉轉(zhuǎn)車頭回去把昏迷的兄妹送進(jìn)了醫(yī)院。宋琪被救活了，可她的哥哥卻醫(yī)治無效死亡了。趙威懷著愧疚的心理擔(dān)當(dāng)起照顧宋琪的任務(wù)。宋琪母女不知真相，以為他是救命恩人非常感激。宋琪和趙威也漸漸產(chǎn)生了感情。可是此時(shí)，莉莉和盤托出事實(shí)的真相，愛恨交加的宋琪茫然地站在那里，看著趙威走向警車……

　　《如意》根據(jù)劉心武同名小說改編。影片通過第三者的旁白來敘述校工石大爺和格格之間的動(dòng)人戀情，充滿詩意哀愁。影片以其別致的取材、真摯的感情和對(duì)“階級(jí)斗爭”的含蓄控訴，深深地打動(dòng)了觀眾的心。
　　幕后花絮：
　　《如意》根據(jù)劉心武同名小說改編，以值得贊頌和懷念的普通人石義海為中心，展示了在人的尊嚴(yán)受到踐踏的瘋狂年代里，石大爺所表現(xiàn)出的樸素的人道主義觀點(diǎn)，他用微弱的力量與黑暗、野蠻的環(huán)境抗?fàn)?，閃爍出人性的光輝。片中主要演員的表演含蓄、真切，用詩一般的雋永表現(xiàn)了男女主人公遲暮的愛情，體現(xiàn)出一種豐富的內(nèi)涵美，具有較強(qiáng)的藝術(shù)感染力。