《贼猫之灵州异兽》是一部改编自天下霸唱小说《金棺陵兽》（原《贼猫》）的3D+4K动画电影,影片的故事发生在清末，湘黔边界灵州城。故事的主人公张小辫是一个孤儿，从小混迹在城中吃百家饭，穿百家衣，胸无点墨，心无大志。本可以浪浪荡荡过此一生，不想却被扣上了猫仙爷的名头，扛起了对抗塔教的大旗。塔教鼠妖、狗怪、蛤蟆精轮番上阵，迫得张小辫左支右挡连滚带爬，狼狈不堪。还有一只认准他是猫仙爷的黑猫死缠烂打、赖着不走。张小辫烦不胜烦，幸得一白衣老头暗中相助，再加上张小辫福大命大，堪堪化险为夷。

《贼猫之灵州异兽》是一部改编自天下霸唱小说《金棺陵兽》（原《贼猫》）的3D+4K动画电影,影片的故事发生在清末，湘黔边界灵州城。故事的主人公张小辫是一个孤儿，从小混迹在城中吃百家饭，穿百家衣，胸无点墨，心无大志。本可以浪浪荡荡过此一生，不想却被扣上了猫仙爷的名头，扛起了对抗塔教的大旗。塔教鼠妖、狗怪、蛤蟆精轮番上阵，迫得张小辫左支右挡连滚带爬，狼狈不堪。还有一只认准他是猫仙爷的黑猫死缠烂打、赖着不走。张小辫烦不胜烦，幸得一白衣老头暗中相助，再加上张小辫福大命大，堪堪化险为夷。

在禁酒时期，走私者科尼利厄斯正在逃离美国海岸警卫队。他在电影片场遇到了一位无声电影女演员琳达，并爱上了她。

五位素不相识的年轻人，意外进入了怪兽横行的时空。他们面对的将是一场屠杀盛宴。在一个充满了不可思议的能量矩阵的结界中，他们五个人似乎进入了一场无…

五位素不相识的年轻人，意外进入了怪兽横行的时空。他们面对的将是一场屠杀盛宴。在一个充满了不可思议的能量矩阵的结界中，他们五个人似乎进入了一场无限循环的生死杀戮游戏。深处密林中的每个人，似乎都在被监控之下。要想逃出生天，拯救自己，他们需要异兽的帮助，他们似乎又要躲避异兽。

Mandy is a mother, a writer, a nihilist. Mandy is a modern woman in a crisis. Raising a son in the midst of a female revolution, mining the pain of her parents’ separation and professionally writing about a love that no longer exists, she falls upon a troubled man, Pete, who’s searching for a sense of worth, belonging and ‘restored’ Male identity.

五位素不相识的年轻人，意外进入了怪兽横行的时空。他们面对的将是一场屠杀盛宴。在一个充满了不可思议的能量矩阵的结界中，他们五个人似乎进入了一场无限循环的生死杀戮游戏。深处密林中的每个人，似乎都在被监控之下。要想逃出生天，拯救自己，他们需要异兽的帮助，他们似乎又要躲避异兽的追杀。

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... 　　Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. 　　The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. 　　This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.

一场惊天动地的大地震，让设在海平面下的实验室危在旦夕！ 一场毁灭性的地震，让6名驻扎于海底的研究人员受困于即将被淹没的研究设施，唯一的生存之路竟然只剩下徒步经由海底平面走到遥远的废弃钻井台。 在这充满挑战的旅途中，他们很快就意识到，除了得依靠简陋装备克服缺氧危机，某种前所未见、致命的海底掠食者已被唤醒，并将他们当作猎物般的追击扑杀……