大卫在童年挚友杰克的邀请下，到圣卡利石窟进行最后一次的洞穴冒险。当晚，他们围在营火旁，向导向他们简短解说有关圣卡利石窟的传奇，第二天一早，这群兴致勃勃的年轻人便迫不及待投入这项冒险的活动，但是却有一群邪恶的末知生命在黑暗中窥伺着他们。一个队员在石窟里与众人走散，却被神秘的生物杀死，他手中的油灯落到含有硫磺的地面上，甲发爆炸，造成石窟塌陷，这些探捡队员也被困在洞里。为了寻找出口，队员分头进行探索工作。萨拉进到石窟深处的狭缝里，赫然见到一双闪亮鬼魅的眼睛正注视着她。在无尽的黑暗中…… Unseen Enemy is an essential exploration of reasons 21st-century populations are experiencing a rash of diseases that were once only outbreaks, but have now become full-blown epidemics. This increased risk that we face, and the ways society and individuals can work together to reduce that risk, are explained to the public through the case studies of three epidemics: Ebola, influenza and Zika. Moving across the globe, we meet doctors, disease detectives and everyday people who have stepped into the horror of an epidemic and emerged deeply changed. Epidemics bring out the best and worst of human behavior, with effects reaching far beyond the tolls of sickness and death. ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout. 一个年轻的红鼻子的驯鹿的故事，他因为惹眼的红鼻子被驱逐出驯鹿游戏。他和一个想当牙医的小精灵Hermey以及勘探者YukonCornelius一起来到可恶雪人的领地，发现整个小岛上都是备受欺凌的玩具。鲁道夫发誓，要拯救这些玩具，于是他在圣诞节前夜来到北极找圣诞老人寻求帮助。然而圣诞老人的雪橇被浓雾所阻而无法行驶。鲁道夫这时想出一个绝妙的主意。 Mitch是一个专门在海边用吸食大麻来引诱女孩的家伙，而他的好朋友Joe是个多愁善感的人，不喜欢单纯的性所带来的压力。但是有一次偷看到外面一对情侣亲热让他产生了追求真爱的想法……影评:一部为了冲击票房的影片，现在已经很难找到这么出色的作品了。本片片名是借用了RobertMulligan的“42年的夏天”，我们可以从中看到很多让人兴奋不已的惊喜。首先是演员，AnnetteHaven是来自令人过目不忘的“温柔乡”中的明星，在本片她扮演一位遇到了一个温顺又没有安全感男孩的中年女人，他们有一场爱情戏表演的非常有激情，就好像演员们真正了解剧情的精髓一样，但是不幸的是，我们现在已经再也看不到这样优秀的影片了。如果你不喜欢怀旧类的，那可以关掉这个页面了！这部影片是成千上万部让人乏味的情色作品中的例外。 
