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)擊開啟屬于你的午夜狂歡。

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Adam, a cocky MMA fighter, wins a fight using dirty tactics and then when challenged outside the Cage, unintentionally injures his opponent, Johan, in a street fight. As a result, Johan is paralysed. Guilt ridden and worried, Adam tries to find out whether Johan knows that he is the culprit, but then inadvertently gets drawn into Johan's life when he finds out that his actions ...

簡(jiǎn)介：　　Ricky, a top contender in Muay Thai Kickboxing trains for the title belt, all the while dealing with new relationships, money problems, and family drama.

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When the sheltered and unsocialized Oliver is tasked with making new friends after the sudden and devastating death of his mother, he decides that digging a few up (literally) might be his best bet.

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一個(gè)年輕人參加他前女友的婚禮。

簡(jiǎn)介：　　一心想要進(jìn)入NBA打籃球的少年成長(zhǎng)故事。在父母莫大的壓力下，進(jìn)入有全額獎(jiǎng)學(xué)金的菁英大學(xué)是唯一的出路，而他則必須在新女友、新學(xué)校、球場(chǎng)上的競(jìng)爭(zhēng)對(duì)手以及喘不過氣的期望中找到自己的出路。

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眾所周知，沒有安東尼·杰斯尼克駕馭不了的話題，他的第二部 Netflix 原創(chuàng)喜劇特輯也沒有讓人失望?！督芩鼓峥耍寒a(chǎn)房一把火》將于 4 月 30 日星期二面向全球上線。繼他的 2015 年特輯《杰斯尼克：我思我禱》之后，這位喜劇人繼續(xù)率性探討社會(huì)禁忌，并將自己的批判和犀利風(fēng)格貫穿其中。

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闊別洛杉磯10年后的首秀，戴夫·查普爾 借用調(diào)侃Bill Cosby，O.J Simpson和自己過往的風(fēng)波，直接了當(dāng)?shù)貙F(xiàn)場(chǎng)推向高潮。

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杰里·宋飛時(shí)長(zhǎng)一小時(shí)的全新特輯《杰里·宋飛：23小時(shí)找樂子》鞏固了他單口喜劇界巧匠的聲譽(yù)。該特輯于2020年5月5日在 Netflix 獨(dú)家上映，記錄了宋飛在紐約燈塔劇院的一場(chǎng)壯觀演出，并展示了他對(duì)日常生活的敏銳觀察，揭示了平日里的喜劇元素。

簡(jiǎn)介：寂れた溫泉街を舞臺(tái)とする本作は、彫師の郵便配達(dá)員?鷹巣明と戀多き詩人“ペンギン”、そしてペンギンのファンである“月夜の星”の三角関係を描く物語。

簡(jiǎn)介：《木偶》講述了一個(gè)治療師的故事，當(dāng)一個(gè)十歲的男孩聲稱他可以控制她的未來時(shí)，她失去了對(duì)現(xiàn)實(shí)的把握。

簡(jiǎn)介：Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007　　Author TimothyFarrell from Worcester, MA　　Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.　　The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610)　　-from imdb