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简介：导演黎妙雪180度大变，由拍问题少女到痴恋少女后，转向惊悚血腥之作。一间于大澳的度假屋，住了不少年青人，当中有小说家、悠手好闲的小混混等等。一日一男子从九龙到了那儿度假，及后发生多多怪事……

简介：亨利·罗斯（亚当·桑德勒）是个典型的花花公子，他最擅长的事就是以不同的身份，让美女迷恋上他，并在事后，迅速从关系中脱身。身为夏威夷海洋馆的兽医，亨利有着无尽的浪漫情怀来感染到此休闲的美女，这一次他看上了在餐馆独自用餐的露西(德鲁·巴里摩尔饰)。　　他们在一起谈天说地，用百吉饼搭建小房子，笑声不断。亨利对女孩恋恋不舍，相约明晨再次一起用餐。然而，第二天清晨，当亨利热情的与露西打招呼时，露西却宛如陌生人一般冷淡。原来女孩由于车祸患上了奇怪的短期记忆丧失症，记忆永远停留在车祸的前一天。　　情圣亨利遇到了自己的难题，他坠入的情网，却爱上一个不断对爱情失忆的女孩儿……

简介：1，恐怖常伴你左右（演出：柄本時生）　　2，内心和外表的差异所引起的悲剧（演出：於保佐代子）　　3，过火的爱情记录（演出：津田健次郎）　　4，好奇心超越猜疑心的结果（演出：松尾谕）　　5，总会用尽的求爱方式（演出：木南晴夏）　　6，每个人都具备的恐怖的人类本性（演出：佐津川爱美）

简介：孟非凡和蒋正是相识多年的好友，某天二人接到神秘电话委托他们押送一个皮箱到指定地点，完成后即可获得丰厚报酬。见财起意的二人不问青红皂白就欣然接下任务，但没想到的是从拿到神秘皮箱的那一刻起就怪事不断，先是遭到不明黑衣人的穷追不舍，后来到地铁上又遇到了保险推销员曹海滨，健身教练小美，演员黄大明，美发师大牛四位奇怪的同车人。在地铁故障黑灯瞬间后二人发现皮箱已被打开，里面的东西不翼而飞，而小偷肯定就在离箱子最近的这四个人中。然而随着剧情推进结果超乎所有人想象，原来这是一个早已被设计好的连环局中局，最终二人能将箱子找回顺利完成任务吗？谁才是真的小偷，谁又才是真正设计这一切的幕后黑手？一切答案皆在故事中..

简介：影片故事发生在不久以后的美国路易斯安那州，温室效应带来了一系列的生态灾难，酷热，飓风使得路易斯安那的渔业受到了重aaa。以捕虾为生的德鲁为了一家人的生活，以及自己创建的家园与大自然苦苦地抗争，可是一场大飓风让德鲁一家失去了一切。德鲁无奈地带着全家人随着人流背井离乡，向北方去谋生计。在这个过程中，一家人有误解，有冲突，也有生离死别。德鲁也曾想放弃，也想过把家人托付给以前的搭档，但是当德鲁看到救命恩人刚出生的女儿时，他又看到了希望，浓浓的亲情让德鲁踏上了寻亲之路，经历了种种磨难之后，德鲁一家终于团聚了。可是生态灾难会就此停止吗？

简介：A 'mockumentary' about David Moore, the filmmaker who first dreamed of sharks in a tornado and brought on disaster by using real sharks. The first SHARKNADO was to be a movie never seen, a crime never reported, a tale never told. Until now.

简介：四位金盆洗手的杀手，遇上一个正经八百的警察，他们发现对方正拼命想逮到一名狡诈的杀人凶手，四人于是决定重出江湖。

简介：男主角博是一个极度焦虑但看上去和蔼可亲的男人，因为从未见过父亲，导致他和专横的母亲关系紧张。博在一个神秘的情况下得知母亲去世，回家路上却发现关于自己的令人震惊的过去。在这旅途中，他遇到了各种疯狂的超自然威胁。

简介：从没失过手的杀手老赵（王志文 饰），得了帕金森，准备退休，却同时接到两个订单。同一时间，同一地点。一个订单的目标，却是另一订单的委托人。为了弥补心中一个久远的愧疚，老赵决定利用这最后的机会，倾力一搏，把两笔钱全挣了。而一个巨大而复杂的深渊，在静静地等候着他……

简介：飞虎队员阿坚在警方的安排下，成功打入黑社会内部，做起了卧底，黑社会老大肥叔始终怀疑阿坚的身份，屡屡找各个机会来试探阿坚，但阿坚都化险为夷，香港黑社会四大家族火拼九龙湾，一场混战中，阿坚救了肥叔一命，从此，肥叔相信了阿坚。　　肥叔计划抢劫金铺失败，肥叔把气发在上次追杀他的黑社会四大家族之一的匡仔身上，准备报复匡仔。为了避免更大规模的流血事件发生，阿坚又将消息传回警局，但还是晚了一步，肥叔的儿子偶遇阿娇，他不知是阿坚的妹妹，阿娇被其强暴，并拍下录像，阿坚不顾队长的劝阻，杀了肥叔的儿子，但不幸暴露了身份。　　肥叔抓不到阿坚，一怒之下，杀了阿坚的全家，阿坚终于现身，设计绑架肥叔，阿坚这一行动引来了警方和肥　　叔的马仔，黑白两道在九龙湾相遇...

简介：Straight Shooting is landmark in the history of the Western. The first feature directed by Ford, it revived the career of Harry Carey who gives a rough and tumble performance here as a hired gun who turns on his employers to defend an innocent farmer and his family.

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