7.0 英語(yǔ)?·?1969?·?美國(guó)?·?劇情片?
強(qiáng)·沃特,達(dá)斯汀·霍夫曼,西爾維婭·邁爾斯,約翰·麥蓋沃,布倫達(dá)·瓦卡羅,巴納德·休斯,魯斯·懷特,詹妮弗·紹特,吉爾曼·蘭金,琳達(dá)·戴維斯
生活清貧的牛仔喬恩（喬恩·沃伊特 Jon Voight 飾）從老家來(lái)到紐約討生活，他自認(rèn)為風(fēng)流倜儻，因此想在紐約當(dāng)個(gè)男妓混口飯吃。當(dāng)他第一天來(lái)到紐約時(shí)，就在大街上勾搭女人。不料，人地生疏的他生意不成反而虧了20塊錢。沮喪不已的喬恩遇到了專靠騙點(diǎn)小錢為生的里佐（達(dá)斯汀·霍夫曼 Dustin Hoffman 飾），里佐騙喬恩說(shuō)他認(rèn)識(shí)一個(gè)男妓集團(tuán)的首腦，但要收20元作為中介費(fèi)。最后里佐只是把喬恩介紹給了一個(gè)同性戀的皮條客，憤怒不已的喬恩隨后找到了里佐。里佐收留了無(wú)家可歸的喬恩，兩人漸漸成了無(wú)所不談的好朋友。 寒冷的紐約冬天，兩人過(guò)的十分辛酸，以至于衣食無(wú)著，里佐也沒(méi)有錢買藥治病 里佐向往著邁阿密的生活，他邀請(qǐng)喬恩和他一起到邁阿密去闖世界。生活無(wú)著的兩人這晚來(lái)到一家地下酒吧去碰運(yùn)氣，當(dāng)喬恩終于搞到一單生意后，體力不支的里佐摔下了樓梯。奄奄一息的里佐此時(shí)最記掛的仍是邁阿密家鄉(xiāng)的陽(yáng)光，喬為了完成朋友的愿望，開(kāi)始鋌而走險(xiǎn)。
10.0 英語(yǔ)?·?1970?·?美國(guó)?·?喜劇片?
羅伯特·德尼羅,查爾斯·德恩,詹妮弗·紹特
In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment