身怀绝技、精品出手不凡的陈子龙（甄子丹 饰）是潜伏黑道多年的卧底，精品作为老大长毛雄（邹兆龙 饰）的左膀右臂，他的身心承受巨大压力，加上老大已对他升起疑心，威胁子龙妈妈的性命（鲍起静 饰），他急切希望复职，退出黑道。这一次，雄哥派子龙前往内地查探组织成员Sunny罗志伟（安志杰 饰）的虚实。Sunny出身美国唐人街，早年曾跟子龙混迹江湖，但逐渐做大的他暗中黑了雄哥的货。另一方面，子龙的上司张Sir（郑中基 饰）以复职为交换，同样命子龙调查Sunny。谁知内地之行凶险非常，Sunny为人狡猾毒辣，而与内地警方的配合又矛盾冲突频频，加上神秘刺客“刀锋”（张涵予 饰）时隐时现，子龙不知不觉踏入阴谋重重的漩涡之中……
黑手那卡西工人乐队
回复 :A down-and-out gangster hires an alcoholic press agent to make his blonde bombshell girlfriend a recording star in 6 weeks. But what is he going to do when he finds out that she has no talent? And what is going to happen when the two fall in love?
马猴乐队
回复 :恋爱超过一次的人，分了手的人，属于过去的人；毕竟都是我们爱过的──《前度》。刚从外地回港的陈均平(陈伟霆 饰)及其现任女友阿诗(诗雅 饰)，在机场巧遇前度女友──周怡(钟欣桐 饰)。周怡与旅行作家阿树(周俊伟 饰)正准备出发前往长途旅行，却发生争执闹至分手。为这次旅行而下定决心辞职、退掉公寓的周怡，一时无家可归，获对她念念不忘的陈均平和其女友阿诗收留。周怡前往二人的新居暂住，发现眼前追求物质生活的陈均平，早已不是曾经拥有梦想，一起共渡患难的陈均平。唯一不变的，是陈均平对周怡这位曾经分分合合，纠缠多年的前度思念如昔，始终没有放下过。短短两天内， 面对新居中熟悉的一事一物，处处勾起周怡与过往前度的回忆，30小时，回顾六年来的爱情游历。在和陈均平分手后，她遇上为她治疗失恋情伤的医生(杜汶泽 饰)，也爱过刺激浪漫的古惑仔阿升(向佐 饰)，有些人在她生命中仅短暂停留却刻骨铭心，有些人守候在身边却浑然不觉，就像陈均平的死党阿苏(曾国祥 饰)，见证着周怡与陈均平的几度复合与分手，只是默默地以朋友的身分守护着二人。每一次分手都是遇上下一位的机会，每一次错误结合令大家成为“前度”。可是周怡与陈均平又再共处一室，连番斗气却又极具默契，明明关系亲密却又刻意保持距离，二人曾经相爱的证据一一涌现，多年来纠缠累积的思念瞬间爆发……
孙立群
回复 :Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
