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中国大陆汉语普通话2009
离异且带一个男孩—强强(董博文饰),在旅游公司做职员的男主人公李晚生(周晓斌饰)与做护士的女主人公周燕(闫妮饰)的再婚生活,过得温馨且富有情趣。李晚生:知情知趣、温敦细腻;周燕:朴实、率真又热心,身上有着现代人少见的乐观与执着。虽然是再婚家庭,两个人依然心无间隙,相亲相爱,并准备置办新居,憧憬着美好的生活。女模特林姗姗(王杨美子饰)是周燕急救过的病人。因失恋而酗酒加暴饮暴食结果导致急性胃穿孔的林姗姗被送进周燕所在的医院,在治疗期间的相处中,表面冷漠不可理喻且似乎有点抑郁症状的林姗姗渐渐被周燕的真诚与热情打动,与之成为了朋友,并且经由周燕认识了心理医生章可(郭昊伦饰),由此开始了在前男友常远(王玮饰)与章可之间的情感心理经历。而在这个过程中,心理医生章可也不知不觉地在林姗姗与周燕的生活中发挥了微妙的作用。在之后的故事发展中,章可逐渐成为帮助周燕挽救患上严重心理疾病的李晚生的重要人物,并且感动于周燕对李晚生的执著,由此对周燕产生了好感。但同时,鉴于心理医生不能与委托人发生情感纠葛的职业操守,他陷入了人性本能与职业操守之间的极度矛盾中,使他面临着痛苦抉择。周方(林永健饰)与杨丽枝(周冬齐饰)--周燕的哥哥和嫂子,这对中年夫妻,由于送女儿周游(乔乔饰)出国读书,丈夫周方开始拼命工作挣钱,生活压力大增,渐而冷落了妻子杨丽枝。而后与“红颜知己”何小玉的“密切来往”,更是让本就紧张的家庭关系剑拔弩张。周燕与哥哥一家相处很好,但自从嫁给李晚生后,为了让妹妹并不宽裕的生活过的更好,周方时常接济妹妹周燕,这让本来就不看好李晚生的嫂子杨丽枝担心起周燕的幸福同时也增添了与周方的矛盾。而女儿周游的特立独行也是杨丽枝的一大心病。剧情的高潮是随着李晚生前妻陈融融(付羽佳饰)的出现,主人公李晚生与周燕的生活开始被彻底打乱。李晚生与前妻就抚养儿子强强的问题不断揪扯,加上随之而来的在工作以外与朋友合伙做生意却被朋友欺骗背黑锅,后又被所在工作单位--旅游公司竞标下岗,加上每月数目不小的新房贷款……所有这些接踵而来的都市生活压力使这个早年靠着自己的奋斗,从大山里走出来的农民的儿子潜意识中积聚了太多的负担。渐渐地,一直以来在他内心深处那久远的、不为人知的,被屏蔽的儿时农村生活的创伤记忆,以及多年来与年迈的农村父亲之间的隔阂记忆,开始被一点点唤醒,李晚生由此患上了严重的心理疾病。此时,生性乐观执着的周燕又该如何面对这种意想不到的生活变故呢?而遭遇心理疾病的李晚生在面对妻子对他的不离不弃后,又能否在家人,朋友及心理医生一步步地帮助下逐渐解开心理阴影,与周燕回归到幸福的起点,与年迈的父亲解开多年的隔阂呢?与此同时,周燕生活中的相关人物:因急救而成为朋友的病人--女模特林姗姗,让林姗姗又爱又恨的前男友--摄影师常远,哥哥周方,嫂子杨丽枝,丈夫的前妻--陈融融,丈夫与前妻的儿子--强强,工作中的同事,以及为了挽救晚生而逐渐频繁接触的心理医生--章可等,都在围绕着主人公故事发展的过程中,也开始重新思考并寻找这个充满压力的物质社会的真情以及各自的心灵归宿……

星空影院

纽约夜月情
美国英语1993
Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.' By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses. Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together. One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around. While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken. Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

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