一群大盗在抢劫了一辆运黄金的马车后，首领本·韦德（格伦·福特 饰）在小镇上大意被捕。小镇警官并没有高兴多久，因为将韦德成功地送上法庭受审成了非常棘手的难题。正遭遇经济危机的农场主丹•埃文斯（凡·赫夫林 饰）为了一笔可观的佣金，加入了押送韦德的队伍。 　　在等待3:10去往尤 马镇火车的过程中，押送的队伍面临韦德同伙的生死威胁，而且，韦德向丹提出了更好的价钱。面临金钱、生死和道义，他究竟会如何选择？ 最终押送之旅又将如何结束？

故事发生在捷克共产主义倒台后不久，主人公Zyga是位二十出头的年轻人，试图出人头地却身不由己地走上了黑道。在边界的另一边，他看到德国人似乎拥有一切，Zyga将偷来的Adidas、Ray Bans分发给穷人们，成为一个罗宾汉式的人物，但事情渐渐开始失去控制。就像注定灭亡的麦克白，Zyga为他的自负以及背叛了的道德准则所累。

IVYhttp://www.mtime.com/my/101802/　　当善与恶被赤裸裸地孤立时，就会暂时结成亲密的同盟和伙伴……丹·埃文斯是一个正直、坚韧的人，过着循规蹈矩的普通生活，自然也就没什么值得炫耀的惊人壮举或奇妙历险了。作为前尤宁军中的一名神枪手，丹因为在南北战争断了一条腿，得到了一点算是小小补偿的特权，他将妻子艾丽丝和两个儿子接到了亚利桑那州居住，并在那里经营着一座中等规模的牧场。然而，西部恶劣的天气环境和肆无忌惮的腐败贪污风气，却让丹想要迎接新生活的美好愿望全部破灭了。再加上一场大旱侵袭了丹那已经过于贫瘠的土地，他的牧群大批地死去，丹负债累累的同时，他的家人也面临着渴死的危险。另外，牧场所在土地的契约持有者想在这里建造铁路获得暴利，所以他厚着脸皮想尽一切办法要赶走埃文斯一家--这无疑是给他们面临的困境雪上加霜。 　　时间在一点一滴地流逝，丹坚强地用自己的双手继续辛苦地劳作，渴望着有一天幸运女神能够眷顾自己，却从不在别人面前提到自己默默克服了多少常人无法承受的痛苦。然而，他却悲哀的意识到，自己在大儿子威尔的心目中，父亲的光辉形象正在慢慢淡去，这个14岁的小男孩早就对虚构的小说中描写的那个充满着盗贼和恶棍的野蛮西部世界充满了无限向往，所以他也异常地看不起父亲的“懦弱”……就连妻子艾丽丝也开始对丈夫的一再忍让提出了质疑。 　　正当处在生活夹缝中的丹左右为难时，命运还真扔给他一个机会：西部最声名狼藉的罪犯本·维德被抓住了，他靠的是残忍的拦路抢劫和无赖流氓的性格来给自己的过去增加了许多传奇色彩……作为最出色的战略专家和大自然的领袖，本带领着自己最信赖的副官查理·普林斯和一帮忠心耿耿的手下驰骋西部，他们大多在南太平洋铁路周边活动，抢得了大量的财物不说，还在多起抢劫案中犯下了无可挽回的命案。 　　所以说，虽然本·维德确实被逮捕了，但让他真正接受正义的审判才是最困难的一件事。自从本被带到小镇上监管起来的那一刻起，看管他的警卫就不断受到他手下兄弟的攻击……南太平洋铁路的代表格雷森·巴特菲尔德悬赏寻找志愿者，组成押送队把本带到康坦森镇，中间差不多是三天的路程。因为只有在康坦森，才有专门用来运送犯人的火车，它将会把本送到亚利桑那州的犹马，在那里接受联邦法庭的公开审判。 　　抓住了这次能拯救农场和家人的惟一机会，丹自愿参加了押送队。押送队的队长是经验丰富的赏金猎人拜伦·迈克埃尔罗伊，这个利欲熏心的家伙和本·维德似乎有些个人恩怨需要解决……押送队的其他成员还包括塔克，地方上的小混混；道科·波特，性情温和的兽医，同时也是一个反对暴力的和平主义者。 　　然而，即使被戴上了手铐脚镣，本·维德仍然是危险的，因为在他那充满魅力和吸引力的外表之下，实际上藏着一颗善于揣摩别人的心，哪怕是人性中最微小的弱点，也逃不过他的眼睛。所以本一直在寻找机会，要么逃跑要么复仇，他是不会就这么善罢甘休的。 　　在抵达康坦森这充满危险的三天旅程中，押送队的成员数量在不断缩小……这迫使着丹重新发现了尘封在身体里的力量，于是乎，当本和丹这两个完全来自于道德的两个极端的对立面互相试探较量时，竟然从彼此身上找到了共同点，迫于环境的压力，他们结成了让人意想不同的亲密同盟。 　　当火车鸣着汽笛开向康坦森时，丹要拯救牧场的初衷随即变得更加深刻、更加有意义：他不但重新找回了自我，还教会他的儿子什么才是真正的男人。

一场大旱让农场陷入了前所未有的经济困境。农场主绞尽脑汁的想尽了一切办法试图度过这个难关，最终所有的困难都归结到了一点上——钱。只有拥有足够的钱，才能够开凿新井。而那笔钱对于在干旱中已经苦苦支撑至弹尽粮绝的农场来说可不是一笔小数目。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

在某户武士家庭，腿脚不便的庄司佐之助（仲代达矢 饰）白发苍苍。当年哥哥成为家族的当家者，而佐之助变成了尴尬的寄食者，头靠在哥哥门下度过了大半生的…

http://cinefreak.org/226825-parbaj-1961