求张国荣电影影评(英文版的)谢谢!回答得好可加分!

求救:专家们哪为告诉我英文版的电影<飘>的影评!!!~

你要的是乱世佳人的影评吗？
Gone with the Wind
Gone with the Wind is a very good movie, perhaps bordering on being great, but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a masterpiece. As for its high placing on the AFI's list... it isn't the only travesty on that roster, but it is one of the most obvious.

Gone with the Wind is, simply put, a tale of two halves. The movie is divided by an intermission into a pair of roughly-equal segments. The first, which is brilliant and consistently captivating, covers the time period of the Civil War, beginning shortly after the election of Abraham Lincoln, and ending during Sherman's march through Atlanta. The post-intermission half, which dishes out the suds, picks up at the end of the Civil War and concludes about eight years later. This portion of Gone with the Wind, while still retaining a degree of appeal and narrative interest, spins its wheels frequently.

Nevertheless, viewing Gone with the Wind on television pales in comparison to seeing it projected on a motion picture screen. New Line Cinema has chosen to re-release the film (which is now in its sixth major revival) for its 59th anniversary. (Why not wait a year for the 60th?) Anyone who loves movies but has only seen this one on TV or video is heartily encouraged to visit the nearest participating venue. Theatrically, Gone with the Wind is an entirely different experience from its small-screen counterpart; some of the second-half narrative tedium is effaced by the glorious visuals. With a restored three-strip Technicolor print that preserves all of the original's deep, vibrant colors and digitally-enhanced sound, this picture has never looked or sounded better.

Gone with the Wind has one of the best-known storylines of any film, due in large part to the popularity of the source material, Margaret Mitchell's best-selling 1936 book. It's essentially a sumptuous soap opera set around Civil War times in the deep South. The main character is Scarlett O'Hara (Vivien Leigh), the spoiled, manipulative daughter of an Irish immigrant plantation owner (Thomas Mitchell, who would later play Uncle Billy in Frank Capra's It's a Wonderful Life). Scarlett has two sisters, but she is by far the most spirited of the three O'Hara girls, and her father, seeing her as his successor, teaches her lessons about the importance of the land. "It's the only thing that lasts... the only thing worth fighting for," he comments in the face of war.

Scarlett is secretly in love with Ashley Wilkes (Leslie Howard), who is about to marry the gentle, demure Melanie Hamilton (Olivia De Havilland). When Scarlett confesses her love to Ashley, he admits his feelings for her, but notes that Melanie will make a much better wife. Immediately after this meeting, Scarlett has her first encounter with the irrepressible Rhett Butler (Clark Gable), the cynical, smart hero who eventually falls in love with her. They are two headstrong likes who simultaneously repel and attract one another. When Scarlett remarks, "You, Sir, are no gentleman," Rhett's smiling, easy response is, "And you're no lady."

The bulk of the film follows a romantic quadrangle as it unfolds against the backdrop of war and reconstruction in and around Atlanta and the O'Hara plantation, Tara. Scarlett is in love with Ashley, or thinks she is, but he won't leave his wife. Melanie loves both her husband and Scarlett, who improbably becomes her best friend. Rhett is smitten with Scarlett, and she is clearly interested in him, but the real question is how long it will take for her to recognize the depth of her feelings. Ultimately, when Rhett has finally had enough, he walks out of her life after answering "Frankly, my dear, I don't give a damn" to her plaintive query about what she's supposed to do without him.

The pre-intermission portion of Gone with the Wind, which runs about 115 minutes, is glorious from both a visual and an emotional standpoint. It's a grand tale of love and loss in the midst of this country's most bitter war. Most importantly, it shows Scarlett's development from a vain, spoiled brat into a hardened, determined young woman. Her relationship with Rhett is there, but kept carefully in the background. There is sadness, humor, and a number of breathtaking shots of Scarlett silhouetted against a reddish sunset or the backdrop of Atlanta in flames. The film's most lingering image -- that of thousands of Confederate wounded paving an Atlanta street -- occurs during this part of the movie.

The second half, with its repetitive concentration on Scarlett's back-and-forth, do-I-love-him-or-not relationship with Rhett, is less successful. This stuff is real soap opera material, and, even as well- acted and well-presented as the narrative is, there's no mistaking it for anything else. If it didn't run on for so long, it would be a lot more bearable, but Gone with the Wind threatens to wear out its welcome long before the end title appears. The problem is that the bulk of the story is really told in the first half, so there's a lot of filler in the post-intermission material.

Gone with the Wind stands as a romantic monument to the Old South -- an homage to an era and a lifestyle long gone. The opening title states: "There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind." This clearly illustrates where the film's sympathies lies, and it isn't with the often-grim plight of the slaves (in fact, slavery is largely treated as a neutral, or even benevolent, institution).

One of the tests of the lasting impact of any film is determining whether it's still effective decades after its initial release. Gone with the Wind looks so good that it is surprising to consider its actual age. It's hard to believe that many of the people involved with this film have long since died. Of course, period pieces should not be constrained by the era in which they're made, only by the one in which they're set. The storyline, while "progressive" and "modern" for the 1930s, is a little tame for the 1990s (hence the MPAA's "G" rating), but, in its three-dimensional depiction of Scarlett and Rhett, it's rarely naive. The dialogue is often brilliant, and some of the Rhett/Scarlett exchanges are particularly clever. Gone with the Wind avoids becoming hopelessly maudlin by peppering the lengthy storyline with a variety of lively and humorous sequences.

Probably as much has been written about Scarlett and Rhett as about Casablanca's Rick and Ilsa. Vivien Leigh and Clark Gable were perfectly cast in the leading roles -- she was a relative unknown who was "discovered" almost by accident after an exhaustive casting period; he was an established idol. They fit together perfectly, and, while their chemistry isn't as overwhelming as that of Bogart and Bergman, it's pretty close. As with all couples, their glances and body language say as much or more than their words, and, especially in Scarlett's case, are always more truthful. The characters are fascinating, both on their own and in their interaction with each other. Scarlett is a devious manipulator with a dangerous charm (beware her when she bats her eyelashes); Rhett sees through her at every turn, but, even as smart as he is, he can't help falling for her.

There are a number of noteworthy supporting players. The two with the most screen time (aside from Gable and Leigh) are Leslie Howard and Olivia De Havilland. Both portray low-key characters, but do it so well that we develop a deep sympathy for them and their plight. When it comes to the games of the heart engaged in by Scarlett and Rhett, Ashley and Melanie are out of their league. Another standout is Hattie McDaniel, whose brilliant Mammy (the housekeeper at Tara) steals scenes from the more prominent characters. McDaniel brings Mammy to life, and, while she's not three-dimensional, she's real. Mammy is also evidence that Gone with the Wind was capable of transcending (at least in part) the too-easy black stereotypes that were in evidence during the 1930s.

When discussing the creative forces behind Gone with the Wind, one rarely hears the name of Victor Fleming (The Wizard of Oz), the credited director. (He was actually one of four men to helm the project.) Instead, Gone with the Wind is referred to as "a David O. Selznick Production," because Selznick was the driving force behind the movie's development. As Producer or Executive Producer, Selznick was instrumental in making over 50 films, including titles like King Kong, A Tale of Two Cities, A Star Is Born, Rebecca, Spellbound, and The Third Man. With four directors, over a dozen uncredited screenwriters, and several cinematographers, Selznick proved to be the creative glue that held Gone with the Wind together. This was his child -- an obsession that consumed him for years.

To date, no film has sold more box-office tickets than Gone with the Wind. Domestically, the tally almost doubles that for the phenomenally-popular Titanic. Of course, when the movie was first released, it wasn't just another motion picture -- it was a spectacle, an event. Even though the habits of movie- goers have changed over the years, it's easy to see why this film provoked such an outpouring of praise and adulation during its initial release, and why its stature has grown with the passage of decades. Gone with the Wind has flaws, but it's still undeniably a classic and a legend.
找些有用的摘下来吧！

http://www.allmov.com/movie/10053/main.html
这里有影评和介绍，还有海报等

http://www.cnmdb.com/title/24232/
这有介绍和剧照等

　　这是一篇关于《春光乍泄》的评论

　　Romeo and Lady Macbeth

　　by John A Nesbit

　　Hong Kong's famous art-house filmmaker, Kar-wai Wong, began gaining acclaim after his innovative Chungking Express and Fallen Angels, but he hit the big time in 1997, when he took home the Director award at the Cannes Festival for Happy Together (Cheun gwong tsa sit).

　　Wong has become famous for his dynamic cinematic style and his preference for improvisation, eschewing a written script and working only with a broad concept. Improvising creatively with the camera (and finding ways to put that raw footage together) isn't the easiest way to work. Wong's filmmaking methods require a team that can react instinctively and understand his vision.

　　You'll see that Wong retains the same cinematographer (Christopher Doyle) and the same editor (William Chang) in all his movies since Ashes of Time, from 1994. Wong remains stylistically consistent: experimenting with film stock, looking for interesting juxtapositions, having characters talk to themselves, and playing on familiar themes of loneliness and unrequited love.

　　Like other Wong films, don't expect much action, as again he treats the audience to an introverted in-depth examination of characters and their relationships. Chungking Express's Tony Leung returns to play Lai Yiu-fai, a loyal and sensitive man who is generally lonely and unhappy. From Wong's Ashes of Time, Hong Kong actor Leslie Cheung plays Yiu-fai's lover, Ho Po-wing, a promiscuous party animal who's always up for sexual adventure.

　　Even from the beginning, their relationship seems doomed. Yiu-fai speaks to himself about the many times they have broken up; Po-wing eventually says they can “start over.” Now they plan to “start over” by visiting the Iguaçu Falls in Argentina. Things go badly from the beginning—the two tourists get lost and find themselves stranded on a desolate highway outside of Buenos Aires. Po-wing abandons Yiu-fai for being “boring.”

　　Out of money, Yiu-fai takes a menial job as a doorman outside a Buenos Aires tango club, where he eventually sees his former lover enter the club with a few “white trash” men cruising for sex. Once again, Yiu-fai demonstrates the pained look of a typical jilted lover, as he watches Po-wing demonstratively kissing one of his newfound friends. Cut later to a pensive and sad Yiu-fai, alone in his rented room, clad in only his underwear and pounding his wall in frustration.

　　However, he resolves to detach himself from his obsessive love with a man who will never return his loyalty, and Yiu-fai sticks to his guns when Po-wing calls him and wants to “start over” again. The two former lovers engage in an angry shouting match and a non-sexual physical struggle, with Yiu-fai walking out this time. Surprise—this time the promiscuous, wild Po-wing is left behind to cry his eyes out.

　　It's like Yiu-fai later says: “Turns out that lonely people are all the same.” Though more outgoing and having had far more sexual partners than Yiu-fai, Po-wing desires an intimate relationship to escape his loneliness too, but has no idea how to maintain such a relationship.

　　For some, Wong's style will seem tedious (where's the action?) but I find his work fascinating. No one does the "unrequited love" theme better. The more recent In the Mood for Love (with Tony Leung) deals with this as well. Not only does unrequited love exist with the two main characters, but this also develops between Yiu-fai and Chang (Chen Chang).

　　Wong slowly develops Yiu-fai's relationship with Chang, just like it would happen in real life, and the ambiguities are numerous.

　　Wong also draws supreme acting performances from his lead actors. While Leslie Cheung exhibits authentic roller coaster moments between longing, obsession, and frustration, Tony Leung is cast as the central figure.

　　Leung acts from the inside; you can read his emotions through subtle body language, and especially through the eyes—it's always the eyes with him. Even scenes that require physicality, like the fights he has with Leslie Cheung's character, don't happen abruptly (Leung builds up to these moments naturally and underplays them). And when the tears come, they emerge naturally, making me wonder from what part of Leung's soul he dredges these moments from as Wong rolls the camera.

　　Happy Together demonstrates the best that movies have to offer: fine acting and creative visuals that offer insights into character that linger long after seeing the film, all with the power to touch the heart
　　来源：http://www.outrate.net/outratehappytogether.html

　　然后是《霸王别姬》

　　Farewell My Concubine spans fifty-three years, presenting the lives of two men against the historical backdrop of a country in upheaval. Initially banned in China but shown to international acclaim, Chen Kaige's film is one of the year's true masterpieces. Deserving of its award at Cannes and of its prominent position in 1993's New York Film Festival, Farewell My Concubine is a motion picture experience that few will soon forget after leaving the theater.

　　In 1924 Beijing, the youthful Douzi and Shitou are brought together under the thumb of the strict master of a small acting troupe. It quickly becomes apparent that these are the most talented of the master's pupils, and he pushes them harder than his other students. Thirteen years later, their suffering has paid off. Douzi, now going by the name of Chen Dieyi (Leslie Cheung), and Shitou, called Duan Xiaolou (Zhang Fengyi), are major opera stars, and their production, "Farewell My Concubine" is nationally known. The two are inseparable, until the woman Juxian (Gong Li) comes between them.

　　Farewell My Concubine is neatly divided into eight chapters, including a 1977 prologue and epilogue that bookend the story. Each section represents a different era in Chinese history and the lives of the characters. The historical background from the time of the Warlords through the Cultural Revolution, including the Japanese invasion of 1937 and the Communist takeover, is integral to the plot.

　　The first portion of the film is devoted to the early lives of Dieyi and Xiaolou as they form an unshakable bond under the often-cruel punishments of their master. Years later, when we meet them again as well-known actors, the bond has only strengthened. These two are as close as men can be - yet Dieyi wishes for even greater intimacy. The subject of homosexuality is only once overtly referred to in Farewell My Concubine, but its presence is never far from the surface. While Xiaolou remains blissfully unaware of the nature of his friend's love, Dieyi is tortured by it. The introduction of Juxian, a prostitute who becomes Xiaolou's companion, creates a moral dilemma for Dieyi that he is unable to fully resolve. Chen Kaige has done a fabulous job portraying these various relationships with depth, sensitivity, and realism. This is a real and powerful illustration of human interaction that depicts layers of hatred and love.

　　Dieyi is the most fascinating character. From the beginning, his sense of identity is confused. Not only is he attracted to men, but his role as a woman in "Farewell My Concubine" creates a certain ambivalence about his own gender. In childhood, the refrain of "I am a girl" is drilled into him so that he can effectively assume the role of the concubine in the opera but, as another character observes, the line between reality and acting has become blurred. Dieyi has a prostitute for a mother, is raped by an old man, and has his best friend stolen from him by a woman. It's no wonder that his soul is so tortured.

　　Xiaolou has a more straightforward personality, at least on the surface. Nevertheless, through his ever-changing relationships with Dieyi and Juxian, he proves that this apparent simplicity often hides strong undercurrents. One of his actions ultimately propels the movie to its literal and emotional climax.

　　Juxian appears to be little more than a scheming whore frantic to capture a wealthy husband but, like everyone else, she is capable of a few surprises, including an entirely-unexpected streak of kindness towards Dieyi, who shows her nothing but contempt. Starting out as a wedge between the two friends, Juxian ends up a crucial element in their relationship.

　　The only member of the cast likely to be known to (some) American viewers is Gong Li, whose credits include Raise the Red Lantern and The Story of Qui Ju. She is, as usual, excellent, but no more so than her two co-stars, both of whom effectively realize difficult and complex personalities. For the supporting actors, there's not a weak performance to be found.

　　It's no wonder that this film was initially banned in China (although the government eventually relented and there was one showing; more may be forthcoming). The Communist movement is not shown in a positive light. While not specifically a force for evil, Communist attitudes contribute to one of the movie's most emotionally-shocking scenes. Those unfamiliar with twentieth-century Chinese history are in for a crash course. No film can ever hope to convey the complex mosaic of cultural upheaval caused by everything that happened between 1924 and 1977, but Farewell My Concubine does an excellent job presenting samples of the flavor while telling a story that is both epic and intimate.
　　来源：http://movie-reviews.colossus.net/movies/f/farewell_conc.html

　　《阿飞正传》

　　Though this was Wong Kar-Wai's second film, it could easily be said that this was the one that started it all. Days of Being Wild possesses all the trademarks of Hong Kong's celebrated auteur: heavy doses of post-modern reflection, characters mired in paralyzing existentialism, exquisite cinematography, exacting pacing, sultry atmosphere, and an entirely too obvious "art film" air. For every person who swears this is a Hong Kong Cinema masterpiece, you'll find someone who decrys the film as boring and pretentious. And really, it's hard not to see the merit of either case.
　　The film's story is nothing too special. Leslie Cheung stars as York, a well-off layabout in 1960 Hong Kong. York is as charismatic as he is despicably selfish; his typical deal is to draw women around him into his self-centered web, only to betray them emotionally. The first victim we see is a shy girl from Macau named So Lai-Chun (Maggie Chueng), who he charms with the immortal line that for one minute on April 16th, 1960, the two were friends. Sadly, his affections prove fleeting and destructive. Lai-Chun realizes too soon that York only loves himself, and is quick to leave.
　　However, the damage has been done. Despite realizing York's inability to really care for her, she's driven into a romantic tailspin. Now unable to sleep and suffering from heartbreak, she finds solace in the platonic company of a beat cop (Andy Lau) who wanders the night streets in an entirely too-calm manner. He ends up developing his own minor attachment to Lai-Chun, but the moment is never realized.
　　Meanwhile, York has moved onto Mimi, a sassy cabaret dancer played with scenery-chewing flair by Carina Lau. Unlike Lai-Chun, Mimi is seemingly willful, but her apparent strength is not what it seems. When York jilts her, her reaction is pathetic, and yet painfully real. Her irrational desire to retain York's affections draws in York's friend (Jacky Cheung), who harbors his own requited affection for Mimi. Despite her obvious disdain, he pines after her in his own pathetic manner. And, since it's a Hong Kong summer, it's incessantly hot, muggy and rainy. It's almost out of a screenwriting textbook.
　　What's the purpose of this extended soap opera? For many, it could be the obvious existentialism of it all. Love grows and fades, people behave in disgustingly real ways, and nobody does anything remotely heroic or inspiring. It points to the maddening circle of human emotions, which leads from heartbreak to self-doubt and possibly even the onset of delusion. It's as depressing as it is real, which is why it's obviously an "art film." This is where some people decide to walk out and vow never to support Wong Kar-Wai ever again.
　　The apparent genesis of York's selfish (and ultimately self-destructive) behavior seems to be the apparent rejection by his real mother, who left him with a Hong Kong prostitute (Rebecca Pan). One could immediately decide that this is the reason behind York's entire modus operandi: a self-indulgent mother-complex. It's like something in a bad TV drama; if people were to decry the narrative as obvious and uninspiring, they probably wouldn't be wrong.
　　But, that would be the most likely reasoning if the film made its narrative the primary concern. In Days of Being Wild, and indeed in every other Wong Kar-Wai film, the narrative is really the last thing on the director's mind. What concerns him are the details: atmosphere, setting, fleeting emotion, and the terrible preciousness of memory. The physical details of the film are exquisite, such as the way Maggie Cheung's hair falls in front of her face, or the precision with which Leslie Cheung combs his hair. Wong shows so much of his characters through his choices, be they with the actors or with the camera. There is an appreciable artistry to the way he and cinematographer Christopher Doyle frame their shots, creating a divide or an intimacy through exact spacing. Wong uses his infamous voice-over exposition too, but unlike in Chungking Express or Fallen Angels, the device is used sparingly. He wisely gets his actors and his scenes to do the telling.
　　Wong's obvious use of style and technique creates the immediate impression that this is "art," thus alienating a good portion of the audience. Then again, the skill and emotional weight with which he pulls it off is remarkable. It's not hard to be drawn into the lives of these characters, who are so unmovie-like as to be patently bothersome. Everything the characters go through simply happens, and isn't the result of some cathartic response to onscreen stimuli. His actors are uniformly impressive in that no artifice exists to their craft. It's amazing that a director can take mega popstars and wring such naked performances from them, but that's exactly what he does. It's a process that takes patience and retake after retake. His isn't a job for a person with a short attention span.
　　Still, asking the audience to appreciate Wong's creation is not an easy task. Days of Being Wild is a film that rewards only as much as the viewer is willing to put in. If you walk in expecting the movie to tell you something, then you'll probably not be happy. This is a movie to discover, and indeed the film improves the more one views it. As mentioned previously, one could view Days of Being Wild and decide that it's just pretentious existentialism with a too obvious message. However, there are undoubtedly those who will find much, much more in the details Wong has so carefully put together. This is a movie which varies depending on individual taste—the exact antithesis of commercial filmmaking. And like the film or not, this much is certain: not many people could make a movie like Wong Kar-Wai.
　　来源：http://www.lovehkfilm.com/reviews/days_of_being_wild.htm

　　《胭脂扣》
　　My copy of this film has no subtitles, but it doesn't really matter. Leslie and Anita have two of the most expressive faces in the acting biz, and two of the best voices as well, both singing and speaking. So the drama and the emotion come through achingly clearly without understanding the dialogue.

　　Of course, having already seen it I know what the story is, which does help. But it's a fairly simple story, albeit one drenched with emotion. Anita plays Yuet Fa, a high class courtesan in a 1930s brothel, while Leslie is the scion of a respectable family who courts her. Their love, and his aspirations to perform in Cantonese opera, displease his family, and so the couple plan to commit suicide together by eating opium. An appropriately decadent ending for a decadent time.

　　The film cuts between the back story and the 1980s, with the ghostly Yuet Fa searching for the lover she hoped to find in the underworld. She enlists the help of a modern couple, which necessitated the casting for some absurd reason of the rather fluffy and annoying Emily Chu. Ick.

　　The first scene, in which Leslie enters a room where Yuet Fa is singing, is electric. Yuet Fa is dressed as a man, but nonetheless engages in a subtle seduction of Leslie (something that few of us with a pulse could resist). The two, both sultry in the extreme, exchange smouldering glances, and the sexual tension is almost visible in the air. Their subsequent encounters, though often less overt, are still heady with seduction. This was one of Anita's first films, and she is perfectly cast as the elegant "sour beauty". It's easy to believe that men would pay handsomely just to be allowed to touch her legs, as she moves with a langorous grace and uses her eyes to great effect.

　　Although a tad slow at times, this is still a fine film, with the two leads mesmerising in their respective roles. It's also worth watching for the historical sets: there's a particularly fine art deco mirror that I coveted mightily, as well as a huge brass bed that was a present from the young master. Despite the luscious presence of Anita, though, this is not a boy film: chick flick and proud of it, so keep those tissues handy.
　　来源：http://www.heroic-cinema.com/reviews/rouge

　　《英雄本色》
　　Review by Sanjuro:
　　Every so often in film history, an accomplished director and a talented actor will become friends and team up for a variety of pictures, thrilling moviegoers in film after film. John Ford and John Wayne, Akira Kurosawa and Toshiro Mifune, and Martin Scorsese and Robert DeNiro are all good examples. A Better Tomorrow adds to that illustrious list, boasting yet another inspired duo: director John Woo and star Chow Yun-Fat. For John Woo, the film marked the revival of a then-sagging career. And while costar Ti Lung got a similar John Travolta-style career boost, it was Chow Yun-Fat who gained the most from the collaboration as he ascended from mere dramatic actor to a certifiable icon.
　　The plot of this 1986 film centers on the lives of HK gangsters Ho (Ti Lung) and Mark (Chow Yun-Fat), two triads living the highlife due to their involvement in a counterfeiting scheme. Ho's younger sibling Kit (Leslie Cheung) adores his elder brother, but before long the two become separated by their professions. While Ho's a slick crook, Kit's quite the opposite: a police academy hopeful with something to prove. Despite his criminal ties, Ho vows to walk the straight and narrow for Kit's sake, but is instead double-crossed on that proverbial "last job" and sent to prison. Adding insult to injury, Ho and Kit are horrified to find that a hitman has murdered their father due to Ho's shady connections, thereby creating a significant rift between the formerly close brothers. And though super-cool gangster Mark avenges his imprisoned comrade in a fantastic guns-a-blazin' revenge sequence, the deed comes at a price: Mark's leg is crippled by an errant bullet.
　　Time passes, but old wounds do not heal. With his chances for promotion shot straight to hell due to his brother's checkered past, Kit is a cop on a mission with a huge chip on his shoulder. In addition, poor Mark has fallen from grace in the organization becoming more or less a janitor due to his hobbling injury...
　　来源：http://www.lovehkfilm.com/reviews_2/better_tomorrow.htm

　　《倩女幽魂》
　　来源：http://www.kungfucinema.com/reviews/chineseghoststory.htm

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那坡县19730908326： 跪求《真爱至上》的英文影评 - ？
木奖立舒： Love Actually (2003) Overview Director:Richard Curtis Writer:Richard Curtis (written by) Release Date:14 November 2003 (USA) more Genre:Comedy / Drama / Romance more Tagline:Love actually is all around. more Plot Outline:Follows the lives ...

那坡县19730908326： 跪求一部张国荣主演的电影名 - ？
木奖立舒：【英文名】Who is The Man Who is The Woman 【中文名】金枝玉叶2 【首映日期】1996年 【类 别】喜剧 / 爱情 /剧情 【导演】陈可辛 【主演】张国荣...