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James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
平凡的一天，房间内再次爆发大战。伴随着女主人撕心裂肺的尖叫声，汤姆和杰瑞的追逐战持续上演。混乱之中，女主人的夺命扫帚打中了汤姆的脑袋。也许是用力过猛，汤姆的大脑发生剧烈的变化。他表现得像一只老鼠，顽皮地追逐着恐慌的女主人，又从冰箱里掏出一大块奶酪和杰瑞一起分享。甚至他还将肥胖的身躯挤进了老鼠洞，毫不见外地躺在杰瑞的床上。小床那里禁得住汤姆的身躯，理所当然被压得粉碎。　　虽然解决了天敌的侵扰，可是杰瑞非常懊恼，因为汤姆完全侵占了他的空间。杰瑞转而向书本求助，发现汤姆可能因为剧烈撞击患了失忆症，于是他打算用相同的办法帮汤姆找回真正的自己……
正值万圣节之际，东京涉谷热闹非凡。涉谷HIKARIE大厦里正在举办一场婚礼，身着婚纱的便是——警视厅的佐藤警官。当柯南等宾客都在见证这场婚礼的时候，突如其来的暴徒向佐藤扑去！高木为了保护佐藤而受伤，好在性命无忧。可这时映入佐藤眼里的，是三年前爆炸事件松田阵平殉职时出现的死神的幻影，这一次出现在了高木的身上。　　与此同时，那场连续爆炸事件的犯人越狱了！这是巧合吗？　　这个犯人同时也是公安警察降谷零(安室透)宿命的敌人，因为他害死了自己的同学松田。在即将追到犯人之际，突然出现了一个神秘的变装人物，给安室装上了项圈炸弹。为了解除项圈炸弹，柯南赶到了安室潜伏的地下避难所。柯南从安室口中得知了另一桩事件——三年前，安室和警校同学(现已亡)在涉谷遇到了身份不明的变装炸弹犯「普拉米亚」。　　然而这时，危险已经开始笼罩搜查中的柯南等人……