《法证先锋》系列，是香港电视广播有限公司出品系列时装电视剧。首部《法证先锋》于2006年6月13日首播，共25集；于2007年7月开拍续集《法证先锋Ⅱ》，2008年5月19日首播，共30集；2011年1月开拍《法证先锋Ⅲ》，2011年10月10日首播，30集。《法证先锋》系列由香港无线电视“金牌监制”梅小青导演。
欧阳震华塑造过许多警队精英的经典形象，我们就是喜欢看他英勇无畏、幽默乐观的样子。然而这一次，他成熟稳重，细致严谨，对妻子深情不弃，对下属悉心培养。最重要的，应该是他的智慧，“行走的百科全书”是对他最恰如其分的评价吧。高彦博的世界里，一切都可以用科学解释，他从未违背法则处理过任何一起案子，他会让证据说话。这也是法证的目的。
记得那段时间电视上不管是什么电视剧都会看到震华哥，当之无愧的TVB一哥。

20世纪女人 这是一部给过去的献礼。 整部电影都是在自述和叙述别人中进行，母亲描述儿子，儿子描述朱莉……大量对白建立起旁观者第三视野的感觉。 母亲 母亲作为房东，是联系起整个故事的纽带。母亲的角色也是二十世纪末期大多数中年人的缩影。他们侥幸没经历二战，但从贫困废...  (展开)

2022.07.08 俄版的《拆弹部队》，战争场面的惨烈程度远超美版的《拆弹部队》，情感戏也不输美版，生活气息浓厚，但是在中国播映却波澜不惊，连个小浪花都没有，大概只能是俄罗斯的文宣远没有美国给力。尽管瘦死的骆驼比马大，但到底是没法和大象比。 俄罗斯上校迪马是个排雷方...  (展开)

许多香港电影中不乏同性元素，但是却少有真正的同志题材，女同题材便更少了，上一部女同题材的港片是什么呢？ 我能够立即回忆起来的，是2004年的《蝴蝶》，再上一部是1997年的《自梳》，然后才恍然大悟，其实还有一部2016年《骨妹》。 因此，《喜欢你是你》是难得的。 然而，看...  (展开)

昨天下午，去电影院看了《岁月神偷》，
哭得不能停止，一直在电影院内抹眼泪，手头只有脖子上的薄棉围巾，
正好做了手帕用，出了电影院还觉得头晕晕沉沉的，哭得太多。
好久没看过这么感人的电影了，那些细节的铺排，那种人情的亲厚，
那种贫贱家庭中感人的温暖，正因为稀少所以更催泪，
加上吴君如和任达华都已经人过中年，人生阅历和积淀都够了，
演出来不动声色，游刃有余，使人信服和感怀。

到了今天，细细的想了想这部电影，感触又不同了。
我比较喜欢电影的前半部，有笑有泪，有声有色，
电影的后半部主要是写哥哥的病痛和死亡，
渐渐从一个群体性记忆转化为个体性记忆，
编剧和导演罗启锐难以抑制对亲身经历的往事追忆，
叙事显得冗长，缺少节制，煽情过度。
尤其是对哥哥死亡一节的描写，杯中吐血，黄玫瑰染红，手法显得老套了。
于是电影的格局便显得小了。

如果电影的下半部，时间的跨越更长，社会的阶层更广，
多几条线索，多写几个小人物，或者多写一组家庭的悲欢，
将格局再变得大一些，气魄大一些，滋味多一些，多一些分析隐在其后，
我相信这部电影应该会更好看。
调子呢，我觉得还是始终有泪有笑比较好，胜过一味的伤痛。

看到很多人说，这部电影是香港电影的回归，我想说，
不仅仅是香港电影的回归，其实是电影的回归。
电影是属于穷人的。
现在电影不好看了，就是因为社会主流价值观向中产阶级倾斜，
不再写穷人的故事，穷人的悲欢，所以，电影就不生动了。
这几年，香港电影开始有意识的回归，重新开始写小人物的故事，
于是电影好看起来，活泛起来，重新焕发出了光彩。

电影，终究是属于穷人的。

Song of the Exile reveals its veil with an extreme close-up of a bicycle wheel, accompanied by Hueyin’s sentimental narrations. Hueyin, the narrator and one of the protagonists, isa Sino-Japanese (ethnically) studying in London. Aiko, Hueyin’s mother, is a Japanese who has been living in Macau and Hong Kong since the end of the Second World War.Hueyin’s grandparents, in reliance of their illusionary imagination on Mainland China, choose to settle down in Guangzhou in the shadow of Cultural Revolution. Seemingly all the main characters in Song of the Exile are in displacement from motherlands and resettlement in host lands (Yue). This essay will analyze the displacement and its reconstruction of identity in the context of Song of the Exile.

As to Hueyin, a subtle implication on her contradicted ethnicity and nationality arises when she is typing another resume after she receives the rejection letter from BBC. The heading of her resume indicates that she was born in Hong Kong (“Place of Birth: Hong Kong”) but she is a British (“Nationality: British”). The scene not only epitomizes the colonial history of Hong Kong, but also portrays the discrimination Hueyin encounters as an ethnical Chinese. She should have been treated equally as her local friends on application to BBC in terms of nationality. Yet more often she is isolated in the pub and unintentionally alienated when her friend mentioned about using chopsticks, which symbolizes a classical imagination of orientalism. All these subtle fragments pile up, Hueyin gradually realizes that although she lives in London and speaks fluent English, she still belongs elsewhere. She is indeed “an exile in a foreign land” (Erens).

That’s probably why Hueyin erases her resume and instead types a farewell letter to her friends in London. The opening scenes depicting the landscapes and culture heritages of London, especially appealing to most people in Hong Kong at 1990s after the demonstrations on Tiananmen Square. The image of London is somehow embellished in the diffusing suspicion of returning to socialistic China. In terms of Hong Kong, the model of One Country Two Systems “includes Hong Kong as a part of China but excludes it from legal structure” (Yue) and economic coordination. All those British culture and heritages left in Hong Kong cannot be simply replaced like the replacement in nationality derived from the handover, not to mention the reconstruction of recognition of Chinese identity. It seems that Hong Kong itself, like Hueyin, also lives here but belongs elsewhere.

The same displacement occurred to Aiko,Hueyin’smother, who has been living in Macau and Hong Kong for most of her life. She tells her older brother how difficult her life is in a “foreign country” upon reaching her hometown in Japan. As a Japanese living in Macau and Hong Kong after the Sino-Japanese War, Aiko was prejudiced and even despised by Hueyin’s grandparents and neighbors. She speaks Japanese. She is more in favor of Japanese cuisine. She always reminds herself and Hueyin of the reputation and wealth of her family in Japan, which constitutes an explicit contrast to her floundering life in Hong Kong and Macau, trying to adapt to local lifestyle. When returning to Japan, she picks up her mother tongue, her Japanese name and all other Japanese ritual habits, thus reaffirming her identity as Japanese. She seems to be no longer the “otherness” but one of “the same” with similar social practices and collective acknowledgement of identity.

However, the authenticity of favorite food, the familiarity of language and the comfort of coming back home do not last for long. When Aiko deliberately shows off her well-educated daughter studying in London to her relatives in an attempt to create a “glorious return”, her relatives respond in indifference and ethno-centrality. The Japanese food she used to favor feels cold and tasteless. She even complains about the traditional hot baths for their impracticality and inconvenience. Those yeas living in Macau and Hong Kong unselfconsciously alter he cultural identity. “The years of acculturation in Hong Kong have changed her attitude towards the homeland” (Yue). For Aiko, the journey to Japan is supposed to be a resume of her original identity, but it turned out to be a reminder of her new cultural intimacy towards Hong Kong created by her life of displacement.

At the end of Song of the Exile, Hueyin’s grandfather, who is severely beaten by the Red Guards in Cultural Revolution claiming to topplebourgeoisie, mentions about sending the book of Song Poetry to Hueyin in case she forgets the profound traditional Chinese culture. His reference to this particular period of divine Song Dynasty infers “the national sentiments of modernity, exile and reunification” (Yue) in the horrific shadow of Cultural Revolution. The poverty, brutality, and disorder in Guangzhou smash Hueyin’s grandparents’ fantastic illusion on homeland when they are in Macau. The distance from home procures an ideal to restore the original identity. Yet Hueyin’s grandparents have already become the “otherness” when they return. Only marginalization and hostility towards the Kuomintang’s nationalism embrace them.

In Song of the Exile, the elements and implications of displacement and resettlement constantly affirm and reshape the characters’ recognition of their own ethnic and cultural identities. As for Hong Kong, 15 years has passed by since the handover, seemingly it still belongs elsewhere. In a time of globalization, borders and boundaries may be easily blurred out and they are no longer obstacles for commerce and communications. However, frequent communication does not directly lead to mutual understanding between Mainland and Hong Kong. Conflicts may also arise. The recognition and reconstruction of Chines identity are far more difficult than the reconciliation between mother and daughter in Song of the Exile. As for Hong Kong cinema,local contents (food, language, cultural heritage) in Song of the exile seem to be “a nationalistic response to globalization” (Teo). Nonetheless, maintaining and distilling local features in the pressure of globalization“would not have been and still is not easy” (Yue) in 21st century.

这篇影评可能有剧透 I am not resigned to the shutting away of loving hearts in the hard ground. So it is, and so it will be, for so it has been, time out of mind: Into the darkness they go, the wise and the lovely. Crowned with lilies and with laruel they go; but I am not resi...  (展开)

这篇影评可能有剧透 天才多半是疯子，有时候理想主义者也是。 Lisa的工作能力突出，儿女健康聪明，爱人常伴左右，时常给予她鼓励和安慰，一切井然有序。 但一开始，电影就通过诸多孤单消沉的镜头告诉我们，她并不觉得幸福，甚至感到灰暗。 与家人互动的几个片段，我们可以看出她为何不快乐。 对于L...  (展开)

还有四十页没看完，搁置到了一边，始终没有再拾起来的意思。
总体上觉得，谁都有可能是别人的棋子。谁都有可能是敌方的探子。
算计和反算计淡化了感情这条线，太勾心斗角了，角色性格过于纯粹，纯的像液体结晶出的固体，不含任何杂质。
看的心颇累。女主角的角色被架的很空，不真实的让人有些恍惚。

这篇影评可能有剧透 不是黄子华的死忠，很难看得懂里面无处不在的梗。年近花甲的黄子华已是香港脱口秀的教父级人物，他年轻时的志向是当演员，爱好是唱歌，可惜样样皆无人赏识。他在三十岁那一年心灰意冷准备退出娱乐圈，开办了一场类似吐槽的"告别会"，没想到引来满堂喝彩一炮而红，歪打正着的成...  (展开)