线民 1998

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一位美丽的记者追踪儿童性交易案件，却遭到刺客的追捕。她唯一的希望？一个爱说俏皮话、行为暴力的流氓侦探。

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一个母亲早逝，得了血癌，又只剩下六个月生命的10岁小孩(勃罗克夫勒饰演)；一个要在孩子生命结束前，尽量满足孩子要求，让孩子快乐的父亲(威廉荷顿饰演)，是本片【父子泪】主要的架构，人物简单，剧情感人，是本片的一大特色。也是1970年代以前，很普遍的悲剧类型故事，赚人热泪。

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唐可大学毕业，因对父亲过度控制自己的人生而苦闷。无意间他看到一张青蛙卡壳照片，由此被激励，暗下决心改变。几经周折，唐可成了一名快递员，结识了一群同事。最终他告别长期的生活枷锁，开启了一段新的人生旅程。

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一位被派去执行使命的福音传教士与一名妓女之间的一次启示性邂逅。

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李尔王（Romayne Andrews 饰）年事已高，他决定将广袤的国土分给自己的三个女儿科迪莉亚（Natalie Simpson 饰）、格纳利尔（Nia Gwynne 饰）和里根（Oliver Johnstone 饰）。李尔王让三个女儿说出各自心中对父王的爱戴，格纳利尔和里根极尽花言巧语之所能，得到了李尔王的赞赏，小女儿科迪莉亚质朴而诚实，反而遭到了无情的驱逐。失去了家园的科迪莉亚成为了法国的王后，而得到了父亲大片疆土的大女儿和二女儿则将李尔王赶出了家门。直到流落荒野无处可去，李尔王才明白自己犯了天大的错误，他一边责怪自己的愚昧，一边心痛科迪莉亚的遭遇。得知了李尔王的境遇，科迪莉亚组织了军队准备向老家进攻，不幸的是，军队遭遇惨败，科迪莉亚也遭到了逮捕。最终，科迪莉亚被处死，年迈的李尔王在痛苦中亦追随而去。

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社会上甚有地位的裘氏一族正准备迎接一场盛大的订婚派对，一位不速之客贾探员（古天乐 饰）却突然到访，并带来少女张小娟一尸两命的自杀命案，划破了裘家欢乐的气氛。裘家上至老爷（曾志伟 饰）太太（毛舜筠 饰）少爷（林家栋 饰）小姐（吴千语 饰），下至管家（罗兰 饰）均表示从不认识张小娟，岂料贾探员竟凭着死者的一本日记和一张照片，将裘家众人的华丽皮囊一一扯下，揭示出每人都跟死者有着莫大的关连！ 一场华丽的世纪夜宴如期举行，一片欢乐下，这名探员的到访，会彻底影响裘家的世纪盛宴吗？ 电影改编自英国著名舞台剧《An Inspector Calls》。

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关超介绍草龟商人菜甫和老板泰哥促成生意合作，从中赚取一些佣金和少量利润，用以偿还欠下的高利贷债款。但钱款仍有很多还未还清，这让关超始终过着拮据的生活。他去找昔日的战友华佬借钱，但被拒绝了。卡比、文尼和文素三个兄弟以摆.... 

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贝洛戈里耶恢复了和平与安宁。邪恶被击败了，伊凡现在享受着他应得的名声。他周围有家人、朋友和现代世界的小奇迹，帮助他过上舒适的生活。幸运的是，他有魔法剑，可以定期在各个世界之间开辟一条通道来获取一些补给。但是，当古老的邪恶力量崛起，魔法世界的存在受到威胁时，伊万必须与他的老朋友和新对手联手。他们将踏上超越已知世界的漫长旅程，寻找击败敌人并让贝洛戈里重获和平的方法。

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一位刚住院的祖母伊薇，为了达成最后的愿望，给女儿和孙女莎拉列了一份圣诞节前要一起完成的节日清单，希望这段冒险经历能修复她们的关系。然而，莎拉却发现了自己一个未列出的圣诞冒险故事。

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