簡(jiǎn)介：夜深人靜，白日的束縛悄然褪去，是時(shí)候迎接真實(shí)的自己。在這里，我們?yōu)槟鷾?zhǔn)備了一場(chǎng)感官的極致盛宴。每一次心跳，都是對(duì)寂寞長(zhǎng)夜最有力的回?fù)?。探索未知，體驗(yàn)前所未有的私密與刺激。別再壓抑，點(diǎn)擊開(kāi)啟屬于你的午夜狂歡。

簡(jiǎn)介：一群辦公室職員決定在辦公大樓里舉行一個(gè)派對(duì)。除此之外，他們還希望在那里能有一些毒品。他們關(guān)于這個(gè)問(wèn)題的討論被“喬·威克斯 (Joe vickers)”聽(tīng)到了，這對(duì)他們來(lái)說(shuō)是很不幸的，因?yàn)閱獭ね怂故且幻?。但更不幸的是，威克斯還是一個(gè)崇拜撒旦的精神病連環(huán)殺手！他不但不逮捕他們， 他還要確保沒(méi)有人能活著離開(kāi)派對(duì)……

簡(jiǎn)介：Defying the moral constraints of Victorian England and her parents, a young woman engages in unbridled promiscuity with two partners before setting out to capture the fuller sensuality of life itself. Based on the 1915 novel by D.H. Lawrence.

簡(jiǎn)介：影片講述了一個(gè)男人和一個(gè)女人的故事，在二十多歲互相愛(ài)上了。 多年來(lái)，他結(jié)婚，她離婚。和曾經(jīng)的戀人重逢在秋天的意大利，還能喚起曾經(jīng)的愛(ài)情么。

簡(jiǎn)介：Don Cesar, son of Zorro, is framed for murder while visiting Spain, and becomes the whip-wielding outlaw Don Q.

簡(jiǎn)介：圣誕節(jié)，平時(shí)工作繁忙的由加里（広末涼子飾）好不容易抽出空和戀人博（玉山鐵二飾）約會(huì)，來(lái)到公園，對(duì)方卻是一副冷淡的表情，說(shuō)著“我有喜歡的人了，”向其提出分手?！　牡挠杉永锏?天以身體不適為由請(qǐng)了一天假，在家中做大掃除，又去剪了頭發(fā)。重新整理好心情的由加里打算把對(duì)方留在這里的最后一樣物品——家中的鑰匙還回去，“可是當(dāng)時(shí)得到鑰匙時(shí)的心情，即使到現(xiàn)在都能記得，就像是拿到了打開(kāi)通往世界之門(mén)的鑰匙一樣……”3年前的甜蜜的圣誕節(jié)在腦海中清晰起來(lái)。

簡(jiǎn)介：

簡(jiǎn)介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

簡(jiǎn)介：環(huán)球在40年代推出了一套低成本懸疑系列電視電影“內(nèi)部圣所之謎”。 ?這套影片根據(jù)當(dāng)時(shí)很火的懸疑電臺(tái)節(jié)目改編，由小朗·錢(qián)尼主演。“召喚死亡醫(yī)生是該系列的第1部。由于原節(jié)目時(shí)長(zhǎng)只有30分鐘，為了改編成更長(zhǎng)的影片，制片方增加了很多場(chǎng)景和人物對(duì)白將故事拓展成了1小時(shí)。另外，公司為了宣傳噱頭，當(dāng)初還以小朗·錢(qián)尼的父親朗·錢(qián)尼主演作為宣傳?！　〉谝徊縿∏楹?jiǎn)介：妻子被毀容并殺害，自己毫無(wú)疑問(wèn)成為了警方的重點(diǎn)懷疑對(duì)象，可是自己卻失去了兩天的記憶.. ? （拖延癥字幕沒(méi)有組）

簡(jiǎn)介：這部充滿陽(yáng)剛氣氛的影片，主要描述在貧民窯一同長(zhǎng)大的四個(gè)男孩，他們有著不同的個(gè)性，卻有著共同的理想，希望未來(lái)能成為黑社會(huì)的龍頭老大。Lansky是一個(gè)商業(yè)經(jīng)濟(jì)頭腦發(fā)達(dá)的人；Benny體格強(qiáng)壯，做事易于沖動(dòng)；Luciano則人緣極好，于是他利用自己所長(zhǎng)，最終有機(jī)會(huì)鏟除了黑幫前輩老大；Costello則深諳仕途之道，擅長(zhǎng)玩弄手腕，后成為出色的政治人物。影片就圍繞他們四人的成長(zhǎng)過(guò)程推展劇情，人物性格刻劃較為細(xì)膩。

簡(jiǎn)介：城市的一隅。一家銀行外的提款機(jī)前，一中年胖男人正熟練地操作著自動(dòng)提款機(jī)。在他不遠(yuǎn)處的路邊停著一輛破舊的紅色夏利。車(chē)內(nèi)坐著兩個(gè)游走在城市邊緣總想靠歪門(mén)邪道撈取不義之財(cái)?shù)臒o(wú)業(yè)人員熊棋和潘安。他們專注地盯著提款機(jī)前的中年男人，伺機(jī)下手。城市的另一處，在一幢高級(jí)寫(xiě)字樓里，一家大公司的總經(jīng)理室，中年經(jīng)理坐在大班桌前，在他對(duì)面，坐著衣冠楚楚的某新成立的廣告公司的經(jīng)理段譽(yù)。展正在口若懸河宣傳自己公司的業(yè)務(wù)，希望能與該公司合作。卻被對(duì)方無(wú)情拒絕。段譽(yù)精明強(qiáng)干講義氣幽默樂(lè)觀卻愛(ài)耍些小聰明，但事業(yè)上卻不如意，大學(xué)畢業(yè)后幾年下來(lái)做了許多生意，均不順利，后來(lái)好不容易拿到一家

簡(jiǎn)介：《蘇加諾》是一部關(guān)于印度尼西亞第一任總統(tǒng)蘇加諾的傳記片。　　本片劇情從蘇加諾的出生一直講到帶領(lǐng)印度尼西亞脫離殖民統(tǒng)治走向獨(dú)立。