美国片深海巨灵大海龟，铃木讲的是一个在海边长大的小男孩很孤独，铃木常在海边玩，有一次一个小女孩从海里跑了出来，于是他们成了朋友一起玩，他们拣到一个海龟，共同在海龟背上刻了一个图案．天色晚了，小女孩送给他一串项链，又回到海里去了．10年后，男孩长大了，有人发现海里有史前巨型生物，于是一队科学家去考察，原来是一只巨型海龟，很多人都想捉它，有的为科学，有的为发财，那个年青人出于好奇也加入了．但那个海龟真是大的吓人，和足球场一般大小，鲨鱼也才他的脑袋一样长，海龟虽然可怕，但对人并没什么威胁．很多人试图用各种办法来抓它都失败了就剩下一个黑人还不放弃．这时一个神秘女子出现了，她找到那个年轻人，劝他不要去抓海龟，年轻人认出了她正是小时候一起在海边的玩伴，正有很多问题想问她时，那个黑人喊他准备出发，等他回过头来，女子已经消失不见了
回复 :七个好友单身汉都声称自己永不会结婚，于是，他们凑了一笔钱，打赌谁最迟结婚谁就赢得这笔钱。一晃眼，七年过去了，只剩下困窘的漫画迈克尔（Jerry O'Connell 杰瑞?奥康耐 饰）和出名的“钻石王老五”凯尔（Jake Busey 杰克?布塞 饰）依然单身，而当初这笔钱由于投资得当而成了一笔巨额财富。这天，迈克尔在拉斯维加斯豪赌欠下了巨债，走投无路的他唯一的办法就是想方设法赢得这场打赌。于是，迈克尔找到了凯尔的前女友娜塔莉娅（莎诺?伊丽莎白 Shannon Elizabeth 饰），千方百计游说了她嫁给凯尔，承诺事成之后分她一份奖金。迈克尔的计划进行得非常顺利，然而就在大功即将告成之际，他却发现自己已深深爱上了娜塔莉娅，金钱和爱情之间，他将如何抉择？
回复 :Cat(罗慧娟饰)与男朋友Ben(林俊贤饰)是一对不良青年。Ben非常欣赏火蝴蝶的美丽，于是敢爱敢恨的Cat纹了一只火玫瑰于胸前。他们在一次打劫的士司机的行动中，被警察乌嘴狗(苗侨伟饰)发现，Cat不幸被捕而Ben则成功逃脱。在Cat入狱期间，Ben变得修心养性，结束了过去的荒唐生活，更开设了一间车房。Cat出狱后，欲与Ben重修旧好，但Ben却结识了新女友Alda(童爱玲饰)，只好留在Ben的车房打工。Cat因经济问题而欠债，债主大口扒(王青饰)在Ben的车房捣乱，Cat为了报仇，竟在大口扒的汽车内放置炸弹，使大口扒的下属受重伤。大口扒强逼Cat偿还汤药费，更企图强奸Cat，Cat誓死反抗，只好参与大口扒的偷车行动。偷车行动失败，大口扒率众到车房，企图杀害Cat，这时车房只有Cat和Alda两人，Cat为了保护Alda，于是极力顽抗，身受重伤。幸好乌嘴狗和Ben赶到车房，保护了两人的安全，并拘捕了大口扒。在医院里，Cat放弃了对感情的执著，祝福Ben和Alda二人，并因领略到乌嘴狗一直对自己有情有义，所以向乌嘴狗示爱。
回复 :Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.
