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。

簡介：

影片講述了知名心理學(xué)教授葉遠東受女演員安雅之托，攜助手前往神秘的郊外別墅，參加關(guān)于催眠的劇本會，卻意外被卷入一場迷局……

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：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：東北諾敏河附近的農(nóng)民在黨的領(lǐng)導(dǎo)下，展開了互助合作運動。

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：影片是導(dǎo)演希區(qū)柯克在1930年根據(jù)希恩·奧凱西的舞臺劇改編成的。同樣這部影片也是被稱為“懸念大師”的希區(qū)柯克的早期作品。 　　什么是懸念？希區(qū)柯克曾經(jīng)給懸念下過一個著名的定義：如果你要表現(xiàn)一群人圍著一張桌子玩牌，然后突然一聲爆炸，那么你便只能拍到一個十分呆板的炸后一驚的場面。另一方面，雖然你是表現(xiàn)這同一場面，但是在打牌開始之前，先表現(xiàn)桌子下面的定時炸彈，那么你就造成了懸念，并牽動觀眾的心。 　　《朱諾與孔雀》著重體現(xiàn)戰(zhàn)爭年代人們的生活狀態(tài)，精妙的構(gòu)思以及故事的突然轉(zhuǎn)折，無不體現(xiàn)了懸念的魅力！ 　　愛爾蘭的局勢動蕩不安，公民黨執(zhí)政，四處抓捕對立派，鎮(zhèn)壓集會，政府認(rèn)為地下組織準(zhǔn)備起義推翻政府，重建新的國家。 　　就這樣，愛爾蘭人民沒有安寧的日子，人們討厭戰(zhàn)爭和暴政，真想把執(zhí)政黨趕下臺，對國家完全失去了希望，每個夜晚都擔(dān)驚受怕。而且在艱難的日子里，所有人都很難找到工作，“船長”伯爾夢想出海，巨大的家庭債務(wù)讓他頭痛不已，如何生存下去成為了非常嚴(yán)峻的問題。當(dāng)他走投無路時，朋友饋贈給他一筆遺產(chǎn)解了燃眉之急，可也讓他放棄了夢想，他更加懶惰了，不再尋找工作，很快錢用完了，家里又變得一貧如洗，災(zāi)難再次降臨他的頭上，女兒身患絕癥無錢醫(yī)治，兒子也被警察以叛黨罪逮捕槍殺，面臨災(zāi)難，伯爾拋下可憐的妻子走了。

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(rèn)真負(fù)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(fù)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……