杰克 施拉姆(本 史提勒饰)和布莱恩 基尔肯尼 芬(爱德华 诺饰)是从小在一起长大的朋友，如今两个人均已长大，并且在社会上颇为成功。两个自信的年轻人如今都生活在纽约西区。事情突然发生了一些变化，他们儿时的玩伴，如今已出落成美女的安娜 蕾莉(吉娜 艾夫曼饰)回到了纽约，在一家公司做行政管理工作。怀着一种奇怪的复仇心理，安娜重新进入了杰克与布莱恩的生活，引发了一场复杂的三角恋，杰克和布莱恩不久便发现他们俩都被安娜迷住了，两个好朋友在情感、友谊和信仰面前进退两难——布莱恩已经发过誓言要保持独身，而杰克即使想要结婚，也不能超越他的信仰所允许的范围。

杰克 施拉姆(本 史提勒饰)和布莱恩 基尔肯尼 芬(爱德华 诺饰)是从小在一起长大的朋友，如今两个人均已长大，并且在社会上颇为成功。两个自信的年轻人如今都生活在纽约西区。事情突然发生了一些变化，他们儿时的玩伴，如今已出落成美女的安娜 蕾莉(吉娜 艾夫曼饰)回到了纽约，在一家公司做行政管理工作。怀着一种奇怪的复仇心理，安娜重新进入了杰克与布莱恩的生活，引发了一场复杂的三角恋，杰克和布莱恩不久便发现他们俩都被安娜迷住了，两个好朋友在情感、友谊和信仰面前进退两难——布莱恩已经发过誓言要保持独身，而杰克即使想要结婚，也不能超越他的信仰所允许的范围。

《女劫杀》讲述了1949年，南方某港口，国民党保密局的职业杀手白雪，代号白蝴蝶，冒充任珩教授的侄女，劫持了这位刚刚秘密归国的著名武器专家，一路北上。 　　途中，中共中央保卫局特工任玉兰与朝鲜武功教师朴禹做策应，同各种反动势力展开了搏斗。最终出色地掩护了任珩教授安全抵达北平。白雪因羞于失败而自杀。

某个夜晚，某处美术馆在闭馆后，迎来了一位不速之客，她举止怪诞，对着艺术品翩然起舞。即将离职的老保安，带上新到任的年轻保安，前去驱赶。短短一路却似漫漫长夜。

某个夜晚，某处美术馆在闭馆后，迎来了一位不速之客，她举止怪诞，对着艺术品翩然起舞。即将离职的老保安，带上新到任的年轻保安，前去驱赶。短短一路却似漫漫长夜。

讲述参与侵华战争的日本考古学者来华投资办厂，将珍贵文物归还中国并向中国人民谢罪的故事。

...I'll take this almost intolerably nasty 1972 Italian drive-in movie, which features Mark Lester (of OLIVER! fame) as a kidnap victim who gets into scrapes that, in their uncut version, would probably get this movie in Federal chickenhawk-busting trouble today. Franco Nero and Telly Savalas are the two conscienceless galoots who are the movie's anti-heroes; Savalas re-ups his giggling hillbilly cretin from THE DIRTY DOZEN, here caricatured to beyond a fare-thee-well. Savalas is the cherry on the cake of what may be the most remarkable set piece in all seventies Italian exploitation: calming a tourist family, packing them in their mobile home, then untethering the trailer and singing a gospel hymn as the terrified Germans plunge into the drink. If I'm not misremembering, there may be a little jig involved here as well.

...I'll take this almost intolerably nasty 1972 Italian drive-in movie, which features Mark Lester (of OLIVER! fame) as a kidnap victim who gets into scrapes that, in their uncut version, would probably get this movie in Federal chickenhawk-busting trouble today. Franco Nero and Telly Savalas are the two conscienceless galoots who are the movie's anti-heroes; Savalas re-ups his giggling hillbilly cretin from THE DIRTY DOZEN, here caricatured to beyond a fare-thee-well. Savalas is the cherry on the cake of what may be the most remarkable set piece in all seventies Italian exploitation: calming a tourist family, packing them in their mobile home, then untethering the trailer and singing a gospel hymn as the terrified Germans plunge into the drink. If I'm not misremembering, there may be a little jig involved here as well.