"Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues. Gherman’s film is, in a sense, a response to his father’s war film 20 Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.
NASA在2005年的時(shí)候發(fā)現(xiàn)了一個(gè)太無淫系外的地行星，并判斷上可能存在智慧命。為了能與外智慧生物接觸，NASA啟動(dòng)“燈塔計(jì)劃”，在夏威啟用深空通信陣基地，向其發(fā)射功率信號(hào)進(jìn)行試。幾年后，外星船不期而至。身夏威夷的太平洋合海軍演習(xí)艦隊(duì)命進(jìn)行接觸。男角海軍中尉阿歷斯（泰勒·克奇 Taylor Kitsch 飾）所在的導(dǎo)彈驅(qū)逐及其他兩艘軍艦作為偵查小隊(duì)，命接觸外星艦船卻因此受到攻擊損失慘重。由于星艦船展開的護(hù)原因，聯(lián)合艦隊(duì)其他艦船無法實(shí)支援，完全只能自己苦苦支撐。后，三艘現(xiàn)代艦被全部摧毀。由無船可用，但是必須摧毀被外星占領(lǐng)的通訊站，能啟用被改為海博物館的密蘇里戰(zhàn)列艦進(jìn)行最后攻擊。二戰(zhàn)時(shí)期王牌戰(zhàn)列艦對(duì)陣星高科技艦船，能勝出？地球的運(yùn)到底如何?
