作家阿宝（汤怡 饰）与医生丈夫杨耀华（吴卓羲 饰）过着完美夫妻的生活。但一年前阿宝在深夜替丈夫把病历送到医院时遇上严重车祸后失去视力。 意外后，美丽阿宝极力适应失明生活并继续写作。某日，美丽杨医生要出差把阿宝独留家中两天。此时，不速之客郑文迪（潘灿良 饰）却上门要找杨医生。得悉只有阿宝一人在家，郑文迪潜入杨宅贴身暗窥阿宝一举一动，将她玩弄于股掌之中 — 原来文迪和杨医生有着血海深仇，豪宅之内，盲女与变态男，厮杀24小时。但看似一场猫捉老鼠的凌虐游戏背后，更凶猛的野兽其实却在暗角虎视眈眈。
回复 :警界败类三哥（林正英 饰）席卷价值近一亿元的珠宝逃往日本，虽有鸡骨草（成龙 饰）和独角金（元彪 饰）两位干探跟踪追捕，但三哥仍为日本黑社会头目松本所救，鸡骨草二人也陷入危机。迫于公众形象限制，香港警方不愿动用本土警力。曹警司（曹达华 饰）找到正在服刑的罪犯鹧鸪菜（洪金宝 饰），希望借助他的力量将三哥引渡回港。鹧鸪菜随后集结孤儿院的好友花旗参（秦祥林 饰）、犀牛皮（冯淬帆 饰）、大生地（吴耀汉 饰）和罗汉果（曾志伟 饰）。在曹警司的威逼利诱下，五个笑料不断的和女警探霸王花踏上前往日本的旅程……
回复 :故事发生在位于比弗利山庄的一所贵族学校中，能够进入此学校就读的学生们，非富即贵，所以，校园里奢侈和自由的风气和普通的学校是无法相比的。在这里，成绩和品行都不重要，重要的是五颜六色的名牌时装，是闪闪发光的珠宝配饰，是张扬奔放肆意挥洒的个性。我们的主人公雪儿（艾丽西亚·希尔维斯通 Alicia Silverstone 饰）就在这样的世界里生活成长着。一位转学生的到来吸引了雪儿的注意，在偌大的校园里，在同学朋友的眼中，这名转学生简直就是“怪胎”，穿着平庸打扮又土气，雪儿决定帮助她改头换面，“重新做人”。在雪儿的指导下，转学生果然有了焕然一新的面貌，甚至更胜雪儿一筹，这让雪儿的内心里十分不平。
回复 :Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
