《神木论坛招聘求职兼职》：

故事讲述□□校毕(➰)业的许□□幽幽醒来□发现□己(□)身处□狱□中，三日后流放边□。他起□的(🕛)目□只□自保，顺便在这个□有□权(🕧)的社会□当个□..

□□《灵境行者》，作者□□报小郎君□仔细地询□了巨型妖兽的特点，脑海中□(🛄)知道的所有古今中外以弱敌强□战例分析几遍，心里有了个□致的方案，立即画出工□图纸□給院长，要他动用所(😤□□人力制作这种特殊的弓箭，又请六王□集齐□马□通知他□

《□市》是(⏱□一(□)部2000年上映□丧尸□，□演是B□i□n Cl□m□nt。故(❔)事发生(♈)在(🕶)现在或未来的□国都市，□人公□药物公司的两个□探子，他们奋力杀出食人尸的重□□□部□影虽然不算原创，但仍然有一些看头。...

□ut □f□the fi□ties &#□9;B□; S□□ence-F□ction monst□r □ovies, t□is ea□□□y □anks as the best. It□;s most notable as th□ film that ALIEN □s an unaccred□ted r□make□of□□thus □iving□it a □ertain□histo□ic□l significance.　　T□e□intri□uing □lo□ is □bout □he □escue of□the only marooned surviv□r (Col. Carr□t□□□s) of a□ ill-□ated e□pedition to□Mars. □he□au□ho□ities, pig-headed□as usu□l, fals□ly □ssum□ that h□ murde□ed h□s fel□ow crew members, □o that he'd have more provisions to survive; hence □e is □eing brought ba□k to □arth □o f□□e □ou□□-ma□□i□l□for □urder. (Th□re is al□o a somewha□ int□re□ting □lot rev□r□a□□here: Most □□vies of□□his □at□re usually□begin wi□h t□e ship leaving Ea□th,□en□oute t□□its otherwo□ld de□tination, wh□l□, in□this ca□e, t□e "story&quo□;□is believed □inished, and begins□□s t□e □ha□acte□s take-off □ro□ t□e other pla□□t,□retu□□ing□□o Eart□). □s□the rescue□□h□p □s leaving □ars, a lurking□□ominous □had□w□is seen in the□lowe□ compar□m□nt□ (A fr□ghtening, atmos□□eric m□□ent, accomplishe□ thr□ugh shee□ □□ono□y□□□d s□mplicity)□　　Ca□ruth□rs insists of his □□nocence to□hi□ fellow□captors, □la□□□□g t□at his original crew mates□were slaug□tered by a□hostile,□unse□n p□esence □n the d□□□lut□ re□□planet, but t□ree-□ues□es as to □heir reaction to□his □nusual pl□a. N□tura□l□,□he□□an□;t prove it□ □nd 50□#39;s sp□ce□authorities w□re no□ v□r□□□lie□ conscien□e □t the time. (As a□side-thought□□"unseen me□□ce" may □□□ind you of □hat h□gh□y□"□orig□nal" BLAIR WITCH).　　As everyon□□□ac□□ out, a hapless supportin□ cha□ac□or □h□se n□me is at th□ botto□ of the □ast□n□ list (□uess what wil□ happen to him?) h□□□s s□mething□in th□□lower compartment□ □espi□e your □uti□e &q□o□□do□'□t go down □he□e, you□jer□!&qu□t;□pl□as, he doe□ just that□□and is appropriat□□y□ki□led (more like thoro□ghly obliterate□)□by □he shadowy figure with insatiable□□lood lust on i□s m□n□. In the□victim's ca□e, dereliction of d□ty □nd shee□ cowardlin□□s would h□ve□been t□e wise dec□sion. □he□scene is actuall□ well-directed □f□r a c□ange) and develo□s □u□h suspense,□as□□□e entire □ilm su□prisin□ly doe□.　　The crew □□na□ly□catches on that□th□y have an □n□□nted shi□ crasher on □oard, and try □□ery □ossible□means□□t thei□ disposal to eli□i□ate it, □□t the u□known crea□ure seems t□ co□p□□g an an□i-□□a□h□attitude. Provin□ to be a□□even m□re cleve□, wor□hy □dv□□sary, 'I□!' also□hides ou□ in □he venti□at□on shafts o□ the ship (n□□ th□t sh□uld r□ng a bell). Ca□n's force□□l□dire□tion generat□s con□iderab□e t□nsion as t□e malevolent stowaway□works its□w□□ up fro□ one leve□ of the confin□□□s□ip to the next,□eventually le□ving the remaining characters trapped at th□ top. The □o□ie's susp□nse is□blunt □n□ right to the □oint:□&□uot;IT!' has to kil□ them or □tar□e□□□□nce they have to □il□ □q□o□;I□!&qu□t; or □ie. N□□hing like t□ose "□o □wo ways about it" choic□s. Rent□it, □r □heck for□□t□on cable if you wish to k□ow □h□ outc□□e.□□F□r□□ lo□-budget q□ick□e□ I□! is q□ite impre□s□ve an□ me□o□□b□e.□The□dreaded sense o□ cla□stro□hobic tension, rendering the□□□aracters'□h□lpless entrap□e□t,□is□highl□□effecti□□. This□is a prod□ction in □h□ch t□e l□□i□ed budget and sma□l se□s actually work in favor o□ □he plot&□39;□ □c□ry□ambience. The black &a□□; white photography□(□□□, it's one of th□se!) □elps□to□enhance its da□k, creepy mood,□a□d the sense of appr□hen□□on is quite high.□(Modern□day□c□lor f□e□□s□never seem to take th□t i□to con□id□rat□on□. The plot□is also □ome□h□t c□nically iron□c: If □he creat□re hadn'□t s□owed away on□the □h□p, Carrut□ers□would □a□e most □□ke□y been found guilty of□the □harg□s□a□ai□st hi□.　(🧜□　The intel□i□e□t □cript (se□ wha□ I □ean about "rarei□y&□uot;) □□s□penned by noted S□ience-F□ction aut□o□ Je□ome □ixby (remember T□□lig□t Zone's "It's □ Good□Lif□□q□□t;□? □he pict□re□#39;s ta□t editing□eli□i□ates any extr□neous dro□s. (AL□EN □ende□ to drag □n it□ fi□st hour with its□s□p□omor□c □ia□o□ue, □n□ why d□d it hav□ to i□clude that□□tupid□and ulti□□tely counter-productive su□-plot o□□□sh bei□g □ ro□ot, and fu□th□r□drag□ing th□ st□ry □ow□ □o□□no□her big □a□ conspi□ac□ clich□? UNNECESSA□Y!□!)　(🐜)　D□rector □a□n as□ut□ly kee□s□the□rubber-s□it□d mons□er □ff-scr□e□ and in t□e shadows □hr□ugh-o□t mo□□ of t□e pr□ceedings, ke□ping y□ur paranoi□ ima□in□ti□n on□constant alert. Unfo□t□nate□y, per□□ps at the stu□io&□39;s commercial ins□sta□ce, □t is □ l□ttle o□er-revealed at □he climax, b□□ I□haven't □lai□e□□this □o b□ t□e□p□□fect □□ste□□iece. T□e□performanc□s,□thou□□ nothing awa□d-w□nn□ng, are ne□□rthel□□s □ool□eno□gh so tha□ one becomes si□ce□el□ c□n□□r□e□ as to□their fates□ □ot many movies in recen□ times ever c□me close to□ach□□ving that.□They□can be ove□-pr□d□ced fr□m here t□ e□ernity, □nd u□ually o□l□ □ucce□d □□ being gloriously annoying□　　Thi□ film&□□9;s story □s not rea□ly □ota□ly original (what□□s□), for it i□□bas□d on A.E. Van V□gt's "VO□A□E OF THE SP□CE□B□□GLE.&q□ot; All ALIE□ fanatic□ should tra□k down an □□d used copy to □ee w□ere the in□t□al influence c□me from.　　As lo□g as you&□39;re not c□aving anot□er □GI□wind-d□ng, you may find i□ worthwhile. Just don&□39;t expect the wom□n to be □ipley p□ecurs□rs. Th□s wa□ st□l□ □he□sock-knitting □□fti□s, □ad to say.