冬天的访客

简介：一次偶然之中，少女王佳（刘禹 饰）邂逅了一名音乐学院的大学生，被后者的英俊外表和才华所吸引，王佳坠入了情网。每一天，王佳都偷偷的跑到音乐学院的院墙外，只为了能够听一听她爱慕的男子的声音。这得不到回应的相思之情扰的王佳每天吃不好也睡不好，更不要说学习了，成绩大幅下降，而王佳的身边并没有什么可以倾诉苦恼的人存在。　　终于，王佳决定告白，她写了一封热情洋溢的情书，然鹅，令王佳感到非常绝望的是，原来她的心上人已经有女朋友了。不仅如此，王佳的懵懂初恋不知怎地被妈妈知道了，愤怒之中，妈妈对王佳施以禁足，不许她再去找那个男生。

简介：A brief trip back home turns into a longer stay when Eric finds himself caught between catching up with his two sisters and conquering his old poker group. The more Eric extends his visit to prove that he is still the best poker player in town, the harder it becomes to steer clear of the old fault lines in his relationship with his sister Rachel. As their little sister Maggie attempts to recreate the intimate world they once shared, Eric and Rachel are faced with the divide between their childhood selves and the adults they have now become.                                                                    Displaying all the sensitivity and wicked humour of his previous works, Dustin Guy Defa’s new film is a shrewd study of the pitiless condition known as adulthood. After growing up in a family unit that constitutes your whole world, with its particular set of habits and a shared language, crossing the border into the realm of adults can feel disempowering, even terrifying. A sense of loss may be difficult to ever really overcome. The film’s meticulous structure and novelistic depth lay bare this fundamental fear, but also the resources that exist to fight it. Setting about this treasure hunt deep within as individuals and as a family is an admirable trio of actors whose interpretation is as nuanced as it is poignant.

简介：江湖上突然流传出三箱黄金将路过平安城大三元客栈的消息，各路江湖势力纷纷齐聚大三元，客栈老板娘夏央梨（苑乔饰）斡旋其中，却慢慢发现面对这逐渐失控的局面时，八面玲珑的自己却越来越力不从心，覆巢之下安有完卵，大时代下的个体终究难敌战争锯bbb。各路“鬼神”之间的较量也成就了《烽火逐金》影片一个接一个的剧情高潮，看似歌舞升平的大三元客栈背后巨大的秘密也渐渐浮出水面……

简介：埃尔维拉为了与她那美丽得令人发狂的继姐竞争，不惜一切代价。在这个童话王国里，美貌是一桩残酷的生意，她用鲜血、汗水和泪水努力吸引王子的目光。这是一个对经典《灰姑娘》故事的扭曲演绎。

简介：Nick and Nora's hopes for a pleasant afternoon at the local race track are dashed when a jockey is found shot dead in the locker room. Nick's friend Lt. Abrams wants him to help out but Nick is enjoying the good life too much to get involved. However, he is subsequently approached by Major Scully to look into corruption and the role of organized crime in gambling. Others are killed but in the end, Nick gathers all of the suspects into a room and identifies the killer.

简介：19世纪末，威名四震的“虎豹小霸王”布奇（保罗·纽曼 Paul Newman 饰）与搭档太阳舞小子（罗伯特·雷德福 Robert Redford 饰）在美国西部的一个小镇上四处抢劫银行，与对手凶残搏杀，与警察机智周旋。一次，两人抢劫“飞人”公司邮车，引来警长与当地居民的追捕。但他俩依旧我行我素，与女教师埃塔（凯瑟琳·罗斯 Katharine Ross 饰）逍遥自在地过着快乐时光。当他们再次抢劫“飞人”邮车后，招来一队骑警，对他们紧追不舍，展开天罗地网的搜捕，迫使布奇和太阳舞小子展开了逃亡之路。从悬崖跳下逃命的两人找到埃塔，商议去玻利维亚谋生。在异国他乡，他们尝试金盆洗手走上正道，终究还是认为这种生活不适合他们，于是重操旧业。埃塔一气之下，抛下他们重回美国。他们在一座小镇不慎暴露身份，被追捕的警察重重包围。前有拦截，后有追兵，虎豹小霸王是否能够在重重夹击之下浴火重生？ 本片获得第42届奥斯卡最佳原创剧本奖、最佳摄影奖、最佳原创歌曲奖、最佳配乐奖等

简介：这部扣人心弦的系列纪录片审视了阿道夫·希特勒以及纳粹的兴起、统治和得到的清算，覆盖了从二战前到大屠杀再到纽伦堡审判的这一历史时期。

简介：丹．艾克罗伊德无与珍．柯婷出身自美国电视综艺节目周末夜现场，如今他们再次合作，将他们在电视时代的无厘头搞笑伎俩搬上银幕，虽招致影评人的一顿痛骂，却颇受反判性强烈的美国新新人类观众欢迎，笑得前仰后合。剧情描述来自外星球的巨蛋头家族，某次出任务失败沦落地球。家族成员只好想尽各种办法溶入美国的中产社会，因而引发了不少臭事。　　纽约时报推荐本片为最温馨有趣的喜剧,故事主要叙述一个外星人家族试着融入地球生活的故事。男主角丹艾奎洛饰演外星人家族的大家长,他幽默而带有喜感的搞笑演出,在纽约邮报获得有极佳的口碑。珍寇顿饰演艾奎洛的妻子,而麦可马金饰演移民局官员,准备毫不留情地将这些“非法移民”驱逐出境。

简介：1928年美国洛杉矶，在电话局接线台工作的克莉斯汀•柯林斯（Angelina Jolie 安吉莉娜•朱丽 饰）独自抚养儿子沃特（Gattlin Griffith 加特林•格里菲斯 饰），母子的生活简单而幸福。然而她们的生活很快被打乱，某天当克莉斯汀下班后，发现儿子不见踪影。　　在公众的舆论压力下，腐败的洛杉矶警方于5个月后找回沃特，但克莉斯汀发现这并非自己的亲生儿子。她三番五次要求警方澄清事实，帮其寻找真正的沃特，却一次次受到阻挠和指责，甚至以妨碍警方公务的罪名被送入精神病院。一向以揭露警方暴行为己任的牧师古斯塔夫•布里格拉伯（John Malkovich 约翰•马尔科维奇 饰），为了这个可怜女人的不幸遭遇奔走呼告。　　另一方面，探员莱斯特（Michael Kelly 饰）在侦办一件偷渡案时，无意中发现了一起重大的连环儿童杀人案。少年沃特的失踪案似乎渐露眉目……

简介：安娜（黛安娜·卡娃柳堤 Diana Cavallioti 饰）和托马（米尔卡·波斯泰尔尼库 Mircea Postelnicu 饰）相识于大学的校园之中，在一次关于尼采的哲学讨论之中，两人成为了知己。精神世界十分契合的两人很快就走到了一起，并且认定彼此就是他们想要携手共度一生的那个人。可是，安娜拥有非常复杂的过去，同时亦是一名MS综合症患者。　　当托马的家人得知了安娜情况后，对这段感情自然强烈的反对，可是托马坚持了自己的深爱，即便孤立无援也坚定的握紧安娜的手，两人共同努力最终使得安娜的心里创伤得到了治愈。可是故事并没有就此结束，安娜康复了，托马的精神却来到了濒临崩溃的边缘。

简介：Nick Cherenko曾是俄罗斯特种伞兵部队的一员，从阿富汗退役后当了一名修车的机械师，在一次毒品交易中他的家人被误杀身亡，尼古拉斯在复仇之后逃到美国，七年之后一名女士找到尼古拉斯，求他救出自己被绑架到俄罗斯的女儿，尼古拉斯发现原来绑架犯就是他的仇人……

简介：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