簡介：夜深人靜，白日的束縛悄然褪去，是時候迎接真實的自己。在這里，我們?yōu)槟鷾蕚淞艘粓龈泄俚臉O致盛宴。每一次心跳，都是對寂寞長夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點擊開啟屬于你的午夜狂歡。

簡介：

鰥夫高永生有子小虎, 寡婦陳美娟有女大梅, 二人再婚. 一家四口生活本極融洽, 但生因婚后失業(yè), 虎又生病, 經(jīng)不起迷信的姊姊挑撥, 視娟為不祥人, 與虎寄居姊家. 生飽受姊夫奚落, 終明白自己魯莽, 返家團聚.

簡介：1943年，革命性發(fā)明家尼古拉·特斯拉在紐約客飯店死于身無分文。美國政府在24小時內(nèi)沒收了他房間里的所有東西。但是遺失了一樣發(fā)明設(shè)計。七十年后，在紐約州布法羅市，一位才華橫溢的年輕工程師找到了它。她唯一可以信任的人是有每天收拾行李習(xí)慣的低價偵探。

簡介：

余力是縱橫衛(wèi)視的金牌制作人，他創(chuàng)辦了電視節(jié)目史上第一個真正的真人秀節(jié)目“女神學(xué)院”。 為了讓女兒成名，余力將女兒月亮送進女神學(xué)院，從進入學(xué)院的那一刻，月亮一夜成名，進入了全國觀眾的視線。然而女神學(xué)院里所有的人物都是節(jié)目組請來的演員，對此月亮全然不知。為了讓節(jié)目持續(xù)火爆，余力絞盡腦汁，甚至主動為月亮安排了一段浪漫的愛情。 然而，紙里包不住火，月亮最終知道了真相，感情也受到傷害。于是，她痛哭著逃出了女神學(xué)院……  

簡介：張君寶辭別父母，離家遠行，偶遇嚴羽，得知上官姐弟在臺州，便答應(yīng)嚴羽去臺州聯(lián)系義士吳明忠，張君寶解救了將被官府問斬的吳明忠，并約好與其共赴襄陽。

簡介：詹姆斯平日里以工程師形象示人，可他的真實身份卻是一位英國間諜，女主角丹妮爾則是心系大海的海洋生物學(xué)家，兩人偶遇后迅速墜入愛河，而詹姆斯卻被索馬里海盜綁架，一場驚心動魄的愛情故事就此展開。

簡介：　　關(guān)鍵一晚終于來臨，黃渤扮演的黃總，邀請收藏愛好者來自己家參觀，藺先生如今也是其中一員，帶著王森來了。藺先生發(fā)現(xiàn)黃渤家里有三幅《維多女人》仿品，都是有一定年頭的值錢貨，但藺先生從特定角度，發(fā)現(xiàn)了其中一幅畫的標(biāo)記，這是王森之前交他辨別真假的方法，王森也證明的確是真品。藺先生發(fā)現(xiàn)這是真品后非常激動，要趁別人都沒發(fā)現(xiàn)之前買下這幅畫。黃渤看藺先生這么感興趣，開玩笑般開出天價，藺先生立刻答應(yīng)，并且要求當(dāng)場成交。
　　成功了！派對上，黃渤把錢撒向空中，大家激動分錢，王森卻不在。
　　王森突然接到電話，得知夏天竟然被陶碩綁架，陶碩威脅王森交回畫，否則殺了夏天。王森一生中從未如此緊張失措過，他和黃渤立刻回去找藺先生，沒想到藺先生像是變了一個人，精明地可怕，要王森拿出三倍的價買回《維多女人》，黃渤提醒王森夏天還有一個小時就要被殺，王森下定決心，用自己收藏的一屋子藝術(shù)品來換這幅畫。
　　時間緊迫，王森讓黃渤去家中拿藝術(shù)品，而自己先拿畫去救夏天。王森回到綁架現(xiàn)場卻一無所有，黃渤也聯(lián)系不上了，只有他手上那幅畫，這時他才發(fā)現(xiàn)，手上那幅畫，上面有自己的簽名，這是最初自己偽造的那副假畫。
　　王森瘋了一般，他回到家，空空蕩蕩，所有值錢的東西都被卷走 ……

簡介：赫伯特的女朋友離開他之后，赫伯特非常沮喪，開始找工作。他終于在一個大房子里找到了一個，里面住著許多女人。他能和所有這些女人住在同一個家嗎？

簡介：描寫一個青年復(fù)員護士，為了搶救被臺風(fēng)襲擊的受災(zāi)地區(qū)人民財產(chǎn)的安全，使喉嚨受到損傷，影響了復(fù)試成績，經(jīng)調(diào)查后被錄取為正式學(xué)員，同時也表現(xiàn)了老教授在工作中的認真負責(zé)深入調(diào)查，才沒有使真正有具音樂才能的人被埋沒。

簡介：新年前夜，死亡幽靈般的兇手，利用跨年煙花的掩護，在市中心的一棟大樓，大規(guī)模遠程射擊槍其他高層樓上狂歡的人群，緊接著射出子彈的大樓房間發(fā)生爆炸。此神秘案件遇難者人數(shù)眾多，留下的線索極少?！　‘?dāng)?shù)啬贻p女警艾麗諾的敏銳判斷吸引 了負責(zé)調(diào)查此案的聯(lián)邦調(diào)查局長官蘭馬克的注意，二人攜手接近那冷酷的、危險的、驚人的真相。

簡介：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.

簡介：阿茂是市政府清潔工人，為人憨直善良。某日，匪徒意外地將糧款袋掛在阿茂的垃圾車上。茂下班時見袋，但因匆忙赴女友琳琳之約，乃不經(jīng)意將之置放床下。茂至琳琳家做客，向琳母提親，琳母要送女家六十桌酒席。茂為了盡早解決六十桌酒席費用，和同房阿福往找兼職，二人做收租員，按址收租，發(fā)現(xiàn)原來全是大檔……