刀剑笑新传之决战

19世纪美国南北战争时，康特里将军临终前将一袋黄金藏在树林中，并将此事记载于日记，由艾娃领导的华贵侦探小组，决心找出这本失散的日记，以了解这批黄金确实埋藏的地点..

　　A professional thief with $40 million in debt and his family's life on the line must commit one final heist - rob a futuristic airborne casino filled with the world's most dangerous criminals.

　　清朝光绪年间，走私食盐集团首脑徐老虎(刘永)与白寡妇(恬妮)，因清官李振彪（白彪）拒不受贿，同时两江总督又责令严缉私盐，徐老虎和白寡妇二人都面临被捕危险。白寡妇为免同僚落网，遂私自前往官府与李振彪协议自己投案，李振彪念及曾与徐老虎及白寡妇亡夫结义，遂允白寡妇之要求。白寡妇被判处绞刑，李振彪为了避免总督介入此案，进而节外生枝，遂派人送毒药给白寡妇。徐老虎惊悉白寡妇独力承担罪责更被判处死刑，复仇行动随即展开……

民国初年，土匪横行。刀客吴锌目睹亲人被土匪杀害后颓废消沉，数月后为救惨遭土匪虐杀的少女阿轲，击杀了土匪首领之子虎子，引发土匪血洗村庄。濒危之际，吴锌重拾刀弓，化身除恶战神，带领绝境中的村民，向恶势力发起决死反抗，最终在惨烈巷战中终结阎霸天。

　　影片《黑色轰炸机》以第二次世界大战为背景，讲述了一段黑人为保卫祖国而战的故事。在二战期间，美国需要更多的飞行员，国会提出是不是可以试验，组成一个叫塔斯克吉飞行队，在阿拉巴马洲建立试验性的飞行训练中心，训练了一批黑人飞行员与白人共同保卫自己的家园。

　　疯狂的科学家弗兰肯斯坦（Aden Young 饰）用不同的尸体部分创造了科学怪人亚当（艾伦·艾克哈特 Aaron Eckhart 饰），可却失去了对方的信任。亚当在埋葬了弗兰肯斯坦后，遭到可怕的恶魔们的袭击。关键时刻，他被一群神秘战士救下，对方是鲜为人知的夜行神龙族，长 久以来一直和可怕的炼狱恶魔作战。在女王莲诺尔（米兰达·奥图 Miranda Otto 饰）的请求下，曾经憎恨人类的亚当加入了剿灭恶魔的战团。此后两百多年，他在世界各地流浪，只为先下手为强，除掉恶魔的头目纳贝流士王子（比尔·奈伊 Bill Nighy 饰）。
　　天使和恶魔的全面战争拉开序幕，亚当起着举足轻重的作用……

　　阿杰曾经是雇佣兵小队的队长，一年前一次围剿贩毒团伙的任务中，由于阿杰的失误导致小队成员阿豪牺牲。阿豪的死给阿杰造成了强烈的心理阴影，他开始疏远所有人。在阿杰恋人小美的生日会后，小美的闺蜜coco离奇惨死，雇佣兵小队的成员也一个接一个失踪。在强大的压力下，阿杰不想再坐以待毙，决定主动出击揪出幕后黑手……

　　故事聚焦神秘女杀手安娜的成长及执行各种暗杀任务的经历，在美丽的外表下，安娜拥有聪明绝顶的头脑和强大的战斗技巧，是世界上最恐怖的刺客之一，她游走于黑白两道，只要被锁定的目标，从不失手。

　　一个年轻人有一种罕见的礼物，可以识别他听到的每一个声音。在一艘法国核潜艇上，一切都依赖于他，金耳朵。
　　看上去绝对可靠，他犯了一个错误，让船员处于死亡的危险之中。他希望重新获得同志的信任，但他的追求会让他们陷入更加戏剧化的境地。
　　在核威慑和错误信息的世界中，他们发现自己被困在一个无法控制的装备中。

　　在一次登山运动中，彼得的父亲为了让他成功获救，毅然选择割断绳索，坠崖身亡。由于内心的痛苦阴影，彼得（克里斯·奥唐纳饰）放弃了登山事业，并由此与同是登山运动员的妹妹不欢而散。
　　妹妹在有一次挑战喜马拉雅山脉西麓高耸入云的K2峰时遇险，全队困在高峰上的岩洞里。由于食物与药物的紧缺，他们的生命岌岌可危。为了营救妹妹，彼得不惜生命危险，再次登上喜马拉雅山，展开与时间的竞赛和对自然极限的挑战。

　　年轻人阿政（谢霆锋饰）总想着能有不一样的生活，向往去南美。一次偶然，他邂逅卧底女警察（徐子淇饰），当上了“准爸爸”。为了筹钱抚养女方肚中的孩子，阿杰辞掉了酒吧招待的工作，跟随吉叔（黄秋生饰）做起了保镖。 阿杰（伍佰饰）多年来在南美担任雇佣兵，在经历枪林弹雨的战火生活后， 他想着洗手告别过去，回到香港娶了慧（卢巧音饰），她是香港有权势的黑社会老大的女儿。一次阿杰无意中结识了阿政。 而阿杰为了照顾妻子，独吞了钱财，昔日战友们很快追到香港，一场恶战在所难免。

　　Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop?
　　Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.
　　The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.
　　Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.
　　However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.