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)簟Ｌ剿魑粗?，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：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：強(qiáng)強(qiáng)對(duì)話(huà)，以“嘴”服人！談判專(zhuān)家卓文偉（劉青云 飾）意外成為一樁命案的頭號(hào)嫌犯，被逼無(wú)奈下他占領(lǐng)警署挾持警察作人質(zhì)，并指定前談判專(zhuān)家謝家俊（吳鎮(zhèn)宇 飾）與自己對(duì)話(huà)。擅長(zhǎng)攻心的謝家俊與技巧高超的卓文偉反復(fù)拉鋸，唇槍舌戰(zhàn)間，兩人的立場(chǎng)與心態(tài)逐漸發(fā)生改變……　　本片改編自美國(guó)電影《王牌對(duì)王牌》。

簡(jiǎn)介：　　影片講述了出身媒婆世家的孟靈鼠白天是替人說(shuō)媒的嬋娟師，夜晚則化身行俠仗義的俠客“夜貓”。她因在幾起離奇詭異的殺人案件中被陷害為兇手而選擇主動(dòng)出擊，聯(lián)手歡喜冤家麒麟師賀蘭鴻塵，一面探尋真相，一面在共患難中喜歡上彼此相愛(ài)相殺，最終擊破反派陰謀的故事

簡(jiǎn)介：Afflicted with a mysterious disease after surviving an overdose, a woman returns to her childhood home to confront her personal demons but instead discovers a real one.

簡(jiǎn)介：故事發(fā)生在17世紀(jì)30年代的新英格蘭，由于無(wú)法茍同教會(huì)的做法，虔誠(chéng)的清教徒威廉（拉爾夫·尹愛(ài)森 Ralph Ineson 飾）遭到種植園的驅(qū)逐，被迫帶著妻子凱瑟琳（凱特·迪基 Kate Dickie 飾）和一眾兒女遠(yuǎn)遷來(lái)到一處荒蕪所在。他們白手起家，歷經(jīng)艱辛，而尚在襁褓 中的兒子意外失蹤則令一家人的心頭蒙上揮之不去的陰影。天氣惡劣，作物歉收，夫妻二人的關(guān)系陷入緊張，凱瑟琳心念下落不明的孩子，精神近于崩潰。在此期間，自感對(duì)孩子失蹤負(fù)有主要責(zé)任的長(zhǎng)女托馬辛（安雅·泰勒-喬伊 Anya Taylor-Joy 飾）心情沉重，此后不久，大弟凱勒布（哈維·斯克林肖 Harvey Scrimshaw 飾）在叢林深處遭遇女巫，心智錯(cuò)亂?！　∫患胰说纳顝氐紫萑牖靵y，他們能否在信仰中得到救贖？

簡(jiǎn)介：A family reunion at a remote mansion takes a lethal turn when they are trapped inside and forced to play a deadly survival game where only one will make it out alive.

簡(jiǎn)介：

賭界賭神失蹤，九宮無(wú)主，賭界混亂，一身正義但絲毫不懂賭術(shù)的男人——寶哥，為父報(bào)仇，隱姓埋名勇闖九宮，他憑借快速記憶和見(jiàn)招拆招的本領(lǐng)，驚險(xiǎn)過(guò)了兩宮之后被暫時(shí)掌管賭界的第八宮宮主龍霸天盯上，龍霸天懷疑寶哥身份陸續(xù)派若離和黑衣人監(jiān)控寶哥，不料若離喪失的記憶隨著跟寶哥的相遇逐漸恢復(fù)，恢復(fù)記憶的若離發(fā)現(xiàn)原來(lái)掌門(mén)并沒(méi)有失蹤，而是被一心想要當(dāng)賭神的龍霸天控制。龍霸天計(jì)謀敗露后與寶哥決斗慘敗，寶哥的身份也隨之揭露，原來(lái)他正是當(dāng)年賭界大亂被掌門(mén)送走的兒子——高興，也是若離親梅竹馬的戀人。 高興解救出父親，最后眾望所歸成了賭界新任掌門(mén)，并拔除了賭界的惡瘤，定下規(guī)矩，賭界不可做殺人越貨，不良交易，不能違背人倫道義。

簡(jiǎn)介：罔笑是個(gè)典型的鄉(xiāng)下阿嬤，　　在貧苦的環(huán)境扶養(yǎng)四個(gè)小孩長(zhǎng)大，　　但各自成家的小孩卻不孝順，　　將她每個(gè)月輪流寄養(yǎng)，　　兄弟間彼此計(jì)較著大小月的天數(shù)，　　但樂(lè)觀的罔笑總是一笑置之?！　≈钡接幸惶焖月妨髀渚炀?，　　且意外地中了樂(lè)透頭獎(jiǎng)，　　眾子女開(kāi)始急著尋找罔笑，　　大家趕回鄉(xiāng)下老家，　　展開(kāi)一段荒謬的比賽孝順之旅……

簡(jiǎn)介：一位心煩意亂的母親懷疑她十幾歲的兒子正在策劃校園槍擊案，但當(dāng)他從系統(tǒng)裂縫中溜走時(shí)，她被迫將事情掌握在自己手中。在安家安裝了一個(gè)精心設(shè)計(jì)的間諜相機(jī)系統(tǒng)后，Abbey拍攝了一系列令人不安的視頻，證實(shí)了她最害怕的事情。在母親無(wú)條件的愛(ài)和母親敏銳的直覺(jué)之間掙扎，Abbey在網(wǎng)上為她的視頻迎合所有其他怪物的母親。當(dāng)雅各用一個(gè)黑暗的家庭秘密來(lái)對(duì)付她，將母子倆都用一種可怕的，最終致命的貓和老鼠游戲，艾比的計(jì)劃適得其反。

簡(jiǎn)介：From IMDB Hard, withdrawn city cop Jim Wilson roughs up one too many suspects and is sent upstate to help investigate the murder of a young girl in the winter countryside. There he meets Mary Malden, whom he finds attractive and independent. However, Mary's brother is chief suspect in the killing. And Mary herself is blind.

簡(jiǎn)介：本片的故事發(fā)生在帶有“人一個(gè)接一個(gè)消失”傳說(shuō)的公寓里，講述了青年投遞員丸子在每天出入公寓的過(guò)程中，偶然得知了可疑住戶(hù)的“秘密”。以那一天為界，他被卷入了意想不到的大事件…