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剧集
亲情纽带第三季
1984 / 美国 / 剧情 / 欧美剧 / 喜剧
迈克尔·J·福克斯 / 梅雷迪斯·巴克斯特 / 迈克尔·格罗斯 / 朱丝婷·贝特曼 / Tina Yothers / 布莱恩·邦赛尔
《Family Ties亲情纽带》80年代美国最热播的情景喜剧之一。曾有2季获得收视亚军。一对年轻时参加嬉皮运动的“花童“父母Keaton夫妇，老来自然是自由派民主党支持者。偏偏聪明好学又帅气的大儿子Alex叛逆的是共和党忠实拥趸，事事都要讲个经济学，生意经, 对家人也不例外。二女儿Mallor meijubar.net y也不让人省心，头脑空洞却虚荣拜金，常被哥哥利用，让她们主张女权的妈妈很失望。三女儿Jennifer虽然是个爱好体育的假小子，但却是父母的贴心小棉袄，总是与人为善。不久，这家又添了小儿子安德鲁，Alex立即抓住一切机会向其灌输新保守主义理念，把他变成了自己的小跟班。Alex常在家中大搞“里根主义“，与父母对着干，虽然有时能拿出好主意，可更多时候他的计谋常常让自己大出洋相。不过，Keaton夫妇永远爱他，虽有代际文化冲突，可一家人却总能包容彼此。 Sha-la-la-la.......... 该剧通过Alex之口说出了很多“里根经济学“的理念，所以，颇得里根总统喜爱。而Alex的扮演者Michael. J. Fox因为第一次在电视上塑造了个讨人喜欢的共和党形象，连续3次夺得艾美奖最佳喜剧男主角，成为家喻户晓的明星，并进军大银幕主演了《回到未来》三部曲，不过90年代不到30岁就罹患帕金森氏综合症而息影。很多现在熟知的明星都在该剧中首次为美国大众所熟悉。Courteney Cox就因为在最后2季饰演大儿子Alex的女友Lauren而在《老友记》时代之前就成为受人关注的电视明星。汤姆汉克斯更是借助在该剧中客座出演酒鬼二舅而引起关注，获得了自己的第一个电影主角机会。此外，当时刚入行不久的Geena Davis，Julia Louis-Dreyfus，Wil Wheaton，Christina Applegate，Joseph Gordon-Levitt等都曾在该剧中客座。该剧开播后3年 ABC台模仿该剧设定，制作了完全体现民主党理念的家庭情景喜剧《成长的烦恼》。
剧集
亲情纽带第二季
1983 / 美国 / 喜剧 / 欧美剧
迈克尔·J·福克斯 / 梅雷迪斯·巴克斯特 / 迈克尔·格罗斯 / 朱丝婷·贝特曼 / Tina Yothers
《Family Ties亲情纽带》80年代美国最热播的情景喜剧之一。曾有2季获得收视亚军。一对年轻时参加嬉皮运动的“花童“父母Keaton夫妇，老来自然是自由派民主党支持者。偏偏聪明好学又帅气的大儿子Alex叛逆的是共和党忠实拥趸，事事都要讲个经济学，生意经, 对家人也不例外。二女儿Mallor meijubar.net y也不让人省心，头脑空洞却虚荣拜金，常被哥哥利用，让她们主张女权的妈妈很失望。三女儿Jennifer虽然是个爱好体育的假小子，但却是父母的贴心小棉袄，总是与人为善。不久，这家又添了小儿子安德鲁，Alex立即抓住一切机会向其灌输新保守主义理念，把他变成了自己的小跟班。Alex常在家中大搞“里根主义“，与父母对着干，虽然有时能拿出好主意，可更多时候他的计谋常常让自己大出洋相。不过，Keaton夫妇永远爱他，虽有代际文化冲突，可一家人却总能包容彼此。 Sha-la-la-la.......... 该剧通过Alex之口说出了很多“里根经济学“的理念，所以，颇得里根总统喜爱。而Alex的扮演者Michael. J. Fox因为第一次在电视上塑造了个讨人喜欢的共和党形象，连续3次夺得艾美奖最佳喜剧男主角，成为家喻户晓的明星，并进军大银幕主演了《回到未来》三部曲，不过90年代不到30岁就罹患帕金森氏综合症而息影。很多现在熟知的明星都在该剧中首次为美国大众所熟悉。Courteney Cox就因为在最后2季饰演大儿子Alex的女友Lauren而在《老友记》时代之前就成为受人关注的电视明星。汤姆汉克斯更是借助在该剧中客座出演酒鬼二舅而引起关注，获得了自己的第一个电影主角机会。此外，当时刚入行不久的Geena Davis，Julia Louis-Dreyfus，Wil Wheaton，Christina Applegate，Joseph Gordon-Levitt等都曾在该剧中客座。该剧开播后3年 ABC台模仿该剧设定，制作了完全体现民主党理念的家庭情景喜剧《成长的烦恼》。
电影
纽约夜月情
1993 / 美国 / 爱情 / 喜剧
马修·布罗德里克 / 安娜贝拉·西奥拉 / 凯文·安德森 / 珍妮·特里普尔霍恩 / 朱丝婷·贝特曼 / 米歇尔·赫斯特 / 丹娜·维勒尔-尼科尔森 / 布鲁克·史密斯 / 迈克尔·曼特尔 / 蒂姆·金尼 / 露易丝·拉塞尔 / 保罗·吉尔福伊尔 / 比蒂·施拉姆 / 比利·坎贝尔
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 his/her 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...