简介： 本片依据1968年的同名电影及2001年的同名百老汇歌舞剧改编而成。会计师雷欧·布鲁姆（马修·布罗德里克 Matthew Broderick 饰）来到纽约百老汇最糟糕的制作人迈克斯（内森·连恩 Nathan Lane 饰）的办公室为他处理帐务，无意中提及他可通过制作一部最失败的歌舞剧来贪污两百万美元投资。迈克斯说服了一直怀有制作人之梦的雷欧与他一同制作这台歌舞剧，他们采用了前纳粹弗朗兹（威尔·法瑞尔 Will Ferrell 饰）的笑话剧本《希特勒的春天》，雇用了臭名昭著的同性恋导演罗杰（加里·毕什 Gary Beach 饰）及助手卡门（罗杰·巴特 Roger Bart 饰），并找到了一位毫无表演经验的瑞士美女乌拉（乌玛·瑟曼 Uma Thurman 饰）兼当秘书和女主角。可没想到的是，这样一部铁定失败的闹剧竟意外大获成功…… 本片被提名金球奖最佳歌舞剧及喜剧电影、最佳电影原创歌曲、最佳喜剧及歌舞剧男主角（内森·连恩）和最佳喜剧及歌舞剧男配角（威尔·法瑞尔），并获格莱美奖最佳电影电视或其他视觉媒体原创歌曲奖提名。
简介：迪伦（大卫·斯佩德 David Spade 饰）是一个无忧无虑的年轻人，生活在洛杉矶的一幢十分舒适的房子里，生活里没有什么事情能够让他心烦，可谓十分自在。一天，他的隔壁搬来了一位名叫莉拉（苏菲·玛索 Sophie Marceau 饰）的女邻居，莉拉美丽、温柔，充满了神秘感，她的不可捉摸深深的吸引了迪伦，让后者的脑袋里装满了有关她的浪漫想象。 然而莉拉对爱情却并没有什么憧憬，她有一个十分善妒的前男友瑞纳（帕特里克·布鲁尔 Patrick Bruel 饰），莉拉想要的全部，就是尽快摆脱这个可怕的男人，和自己的狗狗杰克一起相依为命。为了博取莉拉的信任，迪伦偷偷藏起了杰克，哪知道事态的发展渐渐超出了他的掌控。
简介：乔治（史蒂夫·马丁 Steve Martin 饰）好不容易才接受了女儿已嫁为人妻的现实，本以为生活能够重新归于平静，没想到女儿怀孕的消息再度让乔治陷入了焦虑之中。女儿怀孕，不仅意味着她将步入人生新的阶段，同时还意味着，乔治已经到了升格成为外公的年纪了，一种深深的危机感弥漫在乔治的心头无法挥散。 不知是福是祸，乔治的妻子妮娜（黛安·基顿 Diane Keaton 饰）也有喜了，一边是外公，一边是父亲，被两种身份困扰得焦头烂额的乔治能够担负起自己的责任吗？在这样一个节骨眼上，不知道是哪根筋搭错了的乔治竟然将精力投入到了证明自己依旧“宝刀未老”这件事情上面。
简介：Widow Abby Abbott is having serious money problems and has to dip into the family trust in order to pay for her daughter Susan's college tuition. The catch Abby must also become a co-ed or she can't touch the money. After passing her entrance exams, Abby goes to college and becomes very popular, especially with a handsome English professor whom Susan has a crush on
简介：学生安德森（克里斯托弗·里夫 Christopher Reeve 饰）在编剧上的的过人才华让如今早已江郎才尽的辛尼（迈克尔·凯恩 Michael Caine 饰）又羡慕又嫉妒，安德森让他想起了自己曾经有过的那些春风得意的时光。在辛尼的指导下，安德森完成了一个名叫《死亡计 中计》的剧本，准备在辛尼家中进行试演。辛尼从剧本中看出了商机，他明白，如此完美的剧本，必定会成为圈子里炙手可热的作品。 辛尼和妻子迈拉（黛恩·坎农 Dyan Cannon 饰）决定设计杀死安德森，将剧本据为己有，幸运的是，他们的诡计没能瞒住敏感的邻居海格（Irene Worth 饰）和精明的律师波特（亨瑞·琼斯 Henry Jones 饰），眼看着安德森一步一步的走向了死亡的陷阱，两人决定向其伸出援手。
主演：朱丽叶塔·马西纳,马塞洛·马斯楚安尼,佛朗哥·法布里齐,Friedrich von Ledebur,Augusto Poderosi,Martin Maria Blau,迦克·昂利·拉帝格,Totò Mignone,埃齐奥·马拉诺,安托万圣约翰,弗里德里希·冯·图恩,Antonino Iuorio,芭芭拉·斯科帕,Elisabetta Flumeri,塞尔瓦托雷·比拉,Vittorio De Bisogno,Laurentina Guidotti,Danika La Loggia,赫尔曼·维斯科夫,Pin
简介：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 hisher 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...