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安琪拉（卡琳·安娜·张 Karin Anna Cheung 饰）从没有觉得“性”是什么神圣或者羞于启齿的事情，她辗转在不同的床伴之间，尽情的享受着鱼水之欢带给她的快乐和充实。然而，有一天，安琪拉发现自己竟然怀孕了，在和自己“同床共枕”过的伴侣中，安琪拉找到了四个最有可能让她“中招”的男人，她决定用排除法来确定他们当中究竟谁才是孩子的父亲。
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Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the story is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, unseen menace may remind you of that highly original BLAIR WITCH). As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him) hears something in the lower compartment. Despite your futile don't go down there, you jerk! pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point IT!' has to kill them or starve, hence they have to kill IT! or die. Nothing like those no two ways about it choices. Rent it, or check for it on cable if you wish to know the outcome. For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. The intelligent script (see what I mean about rareity) was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's It's a Good Life) The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche UNNECESSARY!!!) Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. This film's story is not really totally original (what is), for it is based on A.E. Van Vogt's VOYAGE OF THE SPACE BEAGLE. All ALIEN fanatics should track down an old used copy to see where the initial influence came from. As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.
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三十岁的希瑙对人生没有大的追求，整日浏览色情网站，晚上与朋友喝酒胡混，闲赋在家靠领取救济金生活，并且不会处理与女人的关系，他的女友奥菲对他真心实意而他却心不在焉。恰逢圣诞节母亲回外婆家时，她的朋友劳拉（维多利亚•阿夫里尔 Victoria Abril 饰）来家里做客并住下了，俩人遂发生了关系，事后劳拉毫不在乎而希瑙却陷入了苦恼。次日母亲回家告诉他她竟然与劳拉是情人关系，于是希瑙每天便看着自己的情人劳拉和母亲相拥在床。一日劳拉告诉他，她怀孕了，并且要和希瑙的母亲养大这个孩子组成一个完整的同性恋家庭，而这个孩子正是希瑙的，希瑙面对眼前这杂乱的关系，不知如何面对......
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After 15 years, a single father moves home from Hawaii with his two sons and, through a series of coincidences--or Godwinks, ends up stuck in traffic next to his high school sweetheart.