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?zhǔn)備了一場感官的極致盛宴。每一次心跳，都是對寂寞長夜最有力的回?fù)?。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。

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簡介：個性孤僻的哈薩克男孩，被命運推向不法的地下拳擊，他像草原和巴爾喀什一樣平靜的眼神中流露出一切無所謂的人生哲學(xué)。他愛上了俄羅斯族女人，為她過著仍然平淡的生活。而生活就像草原上的天氣，嚴(yán)冬總是在不經(jīng)意間換作春天……　　斯佐的愛展現(xiàn)了哈薩克民族的風(fēng)貌，以及他們博大樸實的胸懷，讓人看見突厥民族坎坷的歷史和光明的未來

簡介：故事講述了天津衛(wèi)五河撈尸隊的水上警察郭得友與師弟丁卯在酒肉和尚李大愣的攛掇下一同探查三岔河口沉尸案，經(jīng)歷了魏家墳探鬼樓、陰陽河仙指路、惡狗村捉妖，最終抓住幕后真兇的故事。

簡介：新郎莫景謙在婚禮上發(fā)現(xiàn)新娘安詩慧已經(jīng)去世，安排了長相無二的胞妹安詩凝替嫁。不負(fù)打擊的莫景謙在家族壓力下被批接納安詩凝，同時也展開了改造新娘的計劃，最終莫景謙被安詩凝堅韌善良的品質(zhì)所打動，真正愛上了安詩凝。

簡介：Sequel to Becky (2020).

簡介：Neramitnung Film制作 4 Kings 2明年上映

簡介：聯(lián)邦保衛(wèi)官杰克（杜夫?朗格DolphLundgren飾）轉(zhuǎn)行當(dāng)了私人保鏢，一次，老板派他前往拯救被匪徒劫持的女兒凱ddd。不料匪徒火力兇猛，杰克的雙眼不幸被磷彈擊中了雙眼，幸好凱西機(jī)智勇敢，最后才和杰克一同逃出了生天。從此杰克的雙眼視力開始下降，還懼怕白光。r杰克養(yǎng)傷期間，他的老板意外身亡，無依無靠的凱西只有找了杰克當(dāng)監(jiān)護(hù)人。杰克眼傷還沒痊愈，就被迫接下了一個保護(hù)名模的任務(wù)。這個模特被一名精神失常的殺手盯上了，杰克展開了貼身保護(hù)。一場你死我活的對抗又拉開帷幕了。

簡介：荒涼的海邊，迎來了一位不速之客。她名叫涼子（丸山明宏 飾），真實姓名以及過往經(jīng)歷完全不詳，在一家名為“黑薔薇公館”的私人俱樂部的老板邀請下，涼子來此駐唱。她每晚8點準(zhǔn)時出現(xiàn)，充滿魔性的歌聲牽引著所有男人的心弦。然而，無論學(xué)者、政客還是富豪，沒有一人能令涼子動心。它永遠(yuǎn)拿著一枝人造的黑色薔薇，并且聲稱只有真正的愛情降臨時，這支薔薇才會變成紅色。為過多久，接連有陌生男人來到公館，他們似乎都與涼子有過一段難以忘懷的過去，而他們口中的涼子似乎又有著截然不同的性格。這些人中，有的為她命喪黃泉，他們的鮮血染紅了涼子手中的黑薔薇…… 　　本片片頭題字和畫作由橫尾忠則完成。

簡介：Edward Dunstan is an artist obsessed by his muse. Every photograph and every movie conveyed the same meaning What he wanted to see. His muse waited in vain for him to see her as she was, but he could not. And so, like the mermaid in his latest movie who grew legs and left him, so does his muse. For months his days and nights are filled with watching her on the screen. His anger turns to self-pity... turns to acceptance... Only now does he understand what he put her through. When his latest letter to her is returned, he binds himself in chains and climbs into the very tank of water his muse spent many unhappy hours.

簡介：Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play La Morte in Vacanza by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.　　To see what’s behind all the conversation about love, the suave but na?ve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.　　(Howard Schumann, talkingpix.co.uk)　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.　　(Dennis Schwartz, homepages.sover.net)　　I've heard DRACULA was advertised with the tag line The Weirdest Love Story ever told! (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.　　(Dave Sindelar, scifilm.org)　　See also the remake Death Takes A Holiday (1971)

簡介：瓦妮莎扮演一位年輕的未婚媽媽，她逃脫了總是虐待她的母親去找生父，而他的生父先是接受了她，然后因為她不愿意打掉孩子又趕走了她。