蚁王杀机

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每年冬天，暴风雪都会将挪威的山路变成欧洲最危险的道路，阻断重要的贸易路线，在极端情况下，还会造成致命的事故。帮助防止灾难要靠一群粗犷的专业抢险车司机，他们依靠自己的聪明、才智和勇敢，完成了完美的“冰雪路上的救援”，确保了又一个顺利的发薪日。

简介：萧十一郎（狄龙 饰）是名震江湖的大盗，和搭档风四娘（李丽丽 饰）里应外合，两人联手配合的天衣无缝。一次偶然中，萧十一郎邂逅了拥有江湖第一美人名号的沈璧君（井莉 饰），两人一见钟情坠入情网，然而，沈璧君早已经被许配给了连家堡的连城璧（刘永 饰），而萧十一郎一直想要得到的割鹿刀正是沈璧君的嫁妆。 　　江湖上出现了以逍遥侯（唐菁 饰）为首的黑恶势力，他们为了得到割鹿刀将沈璧君绑架，所幸得到了萧十一郎的出手相救后者才能够幸免于难。随着时间的推移，萧十一郎和沈璧君之间的情谊引起了连城璧的怀疑，一时之间萧十一郎腹背受敌，十分狼狈。

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一个来自社会底层的15岁少年，到伦敦一家公共浴室当服务生，他跟比自己大好几岁的女同事合作，设计骗取顾客更多的小费，但在这过程中爱上了女同事，但女方却偏爱英俊的游泳教练。少年试图报复，又难下决心。虽然两人后来有性方面的接触，但最终还是酿成悲剧。本片主题是爱情太执着，以及年少无知，无法控制局面，反映出未成年人贸然闯入成人世界反构成的威胁。

简介：「希腊神话有一个传说，人类原本是男女同体，两个头，四只手，四只脚…然而天神宙斯妒忌人类太幸福，于是用雷电劈开男和女，命运女神把本来一对对的男女分散各地，令他们忘记对方。但是人类的心灵仍然保留了另一半的感觉，于是人类就凭着这丝感觉在人世间寻找另一半…」　　叶香香 (林熹瞳 饰) 的女儿叶家家 (汤怡 饰) 希望从明信中学里的华丽而又神秘之图书馆内，寻找亲生母亲生前的足迹；就在一次反对大集团拆迁此极具历史文物价值的图书馆大楼的抗争活动中，家家竟遇上了古华生 (林文龙 饰) 的爱徒陈家强 (谭耀文 饰) ；一连串凄美残酷的真相均偶发在这图书馆大楼内。家家揭发了自己的养母 (张文慈 饰) 竟是害死母亲爱人古华生的主要帮凶！爱恨交纒，一触即发。

简介：近日里，城市里的各大赌场中都人心惶惶，因为一名丧心病狂的冷血杀手“飞天蜈蚣”屡屡现身，她所到之处无不尸横遍野，没有人能够逃脱得了她的魔爪。警方派出了强大的警力调查和追捕飞天蜈蚣，但都以失败告终。无奈之下，他们只能派出最强警探欧阳龙（巫刚 饰）。在调查的过程中，欧阳龙竟然在误打误撞之下发现了警方和赌场勾结的证据。　　终于，欧阳龙找到了飞天蜈蚣的下落，她的真名是艾莉娜（翟颖 饰），让欧阳龙没有想到的是，艾莉娜竟然是自己失散多年的妹妹。在兄妹相认的同时，警方也包围了两人，对警界绝望的欧阳龙决定和这些贪官污吏同归于尽。

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宅男青年姜来租了一个房子，每天被门口的邻居桂香、老九甚至大狗汤姆克鲁斯欺负。到了公司，每次打卡也被清洁工王阿姨戏弄，前台小姐MIMI也看不起他，进了办公室，隔三差五还要被同事董田田泼咖啡，办公室里只有钱图和他是好兄弟。姜来喜欢公司女神林宝儿，每次看到林宝儿就心跳加速。这天他被新来的林总监大骂一顿，回到家又被房东上门追讨房租，无奈躲进了衣橱里，却意外发现衣橱有个神奇的功能……姜来靠着衣橱的预知功能混的风生水起，在公司升职加薪在外组织了偷窃活动，然而这一天，姜来梦到了大地震……

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本片由加泰罗尼亚导演卡拉·西蒙执导，讲述了一个传统乡村家庭中桃子采集活动日渐式微的故事，当有人提出要将桃树砍伐并安装太阳能电池板以此适应新的方式时，这家人开始了捍卫自己土地的“战斗”。本片以使用非专业的加泰罗尼亚语演员为特色，于第72届柏林国际电影节主竞赛单元中作世界首映，并获颁最高荣誉金熊奖。

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　故事发生在挪威，画家Barbora Kysilkova的两幅作品在艺术馆被盗。小偷是一位名叫Karl-Bertil Nordland的瘾君子。在法庭上，画家终于见到了小偷，并做出了一个惊人的决定：以这位小偷为灵感作画。小偷与画家就这样开启了一段看似不可能的亲密关系。

简介：影片讲述了乌龙院“废柴”大弟子阿亮（夏志远 饰）一心要成为伟大的驱魔人，因缘巧合下结识了沙客阳（赵文浩 饰）、艾飞（余俪 饰），三人奉命将伏魔剑送往锁妖塔封印妖王，一路上欢乐逗趣降妖伏魔的奇幻故事......

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Abel去调查当地一间‘高档’学校里一个男孩的死亡事件, 他尸体在河上被发现。学校高层恐惧会引起丑闻，坚持这只是一宗普通的自杀案。但Abel从男孩的女友处得知,他常常被人家欺负, Abel 怀疑一个危险的学生入会仪式搞砸了，于是他秘密地请求一位有同情心的老师Betsy来帮忙。可Abel的上司警告他别再调查下去, 因为学校赞助警察慈善资金不少款项。Abel, 不能就此罢手, 不仅因为几年前他的兄弟自杀了, 而且男孩的鬼魂好像给他们留下了线索，解释当晚到底发生了什么事情。

简介：PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.　　We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.　　PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,