影片根据真实故事改编。被称为“独狼”的NBA球星马布里事业陷入低谷，金手黯然隐退。在王牌经纪人李楠（吴尊 饰）的邀请和家人的鼓励下，金手马布里做出了人生中关键的决定——前往中国追寻自己的“篮球梦”。当坐在飞往中国的飞机上，背后却是他在NBA留下的辉煌和遗憾…重新焕发激情和热血的马布里，却没预想辗转到一支没落的球队，遭遇性格各异、士气低落的队友。在去留抉择间，他对意气相投的教练郑亚雷（何冰 饰）说出了唯一可以使自己留下来的条件——冠军。迎着所有人的质疑和不屑，带领着这支残兵野将的球队，两个拥有共同梦想的男人带领球队踏上了成功概率几乎为零的巅峰征程……
回复 :Two women spend a weekend together at the North Sea. Walks on the beach, fish buns at a snack stand, mobile weather forecasts. Sky, horizon, water. One of them will soon return to her family in Argentina while the other one will try to come a step closer to the ocean. She travels to the Caribbean and the foreign makes her vulnerable. Then, the land is out of sight. On a sailing vessel she crosses the Atlantic Ocean. One wave follows the other, they never resemble. Thoughts go astray, time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. And when the other one reappears in it, the wind is still in her hair while the ground beneath her feet is solid. She returns and the one of them could ask Have you changed
回复 :本片根据真实事件改编。23岁的青年德仔（徐天佑 饰）与酗酒的母亲（惠英红 饰）相依为命。除了帮衬母亲的小杂货铺，德仔平日里无所事事，与附近高中15岁的少女盈（黄明慧 饰）谈起了恋爱，并发生了性关系。德仔与盈之间的情事被盈的父母发现，对方大发雷霆，向德仔的母亲索要一笔巨款，并威胁说要对德仔提出诉讼。软弱的德仔惊慌失措，心急的母亲找到离婚的德仔父亲借钱，却依然无法使盈的父母放弃诉讼。情急之下，德仔与两名朋友约了盈和其好友到郊外谈判，却没想到言语不合出手杀人。已经一无所有的母亲，究竟该如何面对儿子闯下的这无法收场的惨剧呢？本片获第29届香港电影金像奖最佳女主角、亚洲电影奖及香港影评人协会最佳女主角奖（惠英红）。
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
