铁甲衣

简介：本片是部童真十足的幻想片，叙述一位8岁的小女孩安娜，由于想帮助开计程车为业的父亲在百老汇演出，因此不断乞求上苍赐给他一位神仙教母，以实现她的愿望。上帝总算是回应了她的愿望，只不过他送来的不是教母而是个不折不扣的教父：而这位神仙教父墨利显然是经由作弊、才通过法术测验的。不但每次法术屡屡出错，还会找多藉口来搪塞，结果呢？当然是不太乐观。再加上一位邪恶的女巫在一旁捣乱，千方百计想抢走墨利的法杖，以增加自己的法力，状况简直是乱不堪言，当然笑料也就源源不绝而至。小姑娘安娜贝尔（玛拉·威尔逊饰）许愿求得一个神仙教母，可她没料到自己的神仙教母竞然是男的！并且，安娜贝尔很快发现，这位名叫穆瑞（马丁·朔特饰）的男教母完全是个新手，总是成事不足败事有余。他们不幸卷入一场魔法界的大灾难，安娜贝尔和毛手毛脚的穆瑞必须在午夜时分与一个邪恶的女巫（凯瑟琳·特娜饰）决斗，让人间变回一个愿望能够实现的美好世界。

简介：李修缘幼年目睹妖怪为祸人间，深深体会到妖魔给人们带来的痛苦。长大后成亲之日，遇到神秘高僧点化，说他是降龙罗汉降世，能够拯救世间苦难。于是修缘背弃婚约，入佛门之后谨遵戒律，刻苦修行，却始终无法融合金身、觉醒成为降龙罗汉。在寻找机缘的途中，修缘与未婚妻镜心相遇，镜心要把修缘绑回去成亲，修缘坚定拒绝，屡屡逃走，两人追追逃逃来到灵仙镇。灵仙镇常年有妖怪出没，需要不断献祭少女才能保得平安。修缘与镜心联手除妖，不料这竟是一场巨大的阴谋。面对重重困境，修缘能否成功破局，又能否冲破内心桎梏，成长为真正的降龙罗汉？

简介：在该片中，导演继续她对性暴力的探索，深入到一个典型的英国成年仪式中：年轻女性在马略卡岛度假，在狂欢中失去她们的贞操。观众会跟随三个好朋友Zara、Em和Sky的旅程，与她们一同面对集体意识和同辈人竞争压力。

简介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

简介：导      演张祥林　　编      剧谢文礼　　主      演王诗槐、张盼盼、舒长青、任孝复、苏建宇　　片      种故事片　　类      型历史　　出品单位湖北方琳影视传媒有限公司　　长      度96分钟　　出品年代2009　　剧情简介　　春申君为“战国四君子”之一。楚国江夏人，姓黄名歇，楚考烈王时期拜其为相。　　　　黄歇才高八斗、胸怀大志，成年后游历四方，广交贤能志士。时值楚国天灾人祸，百姓生灵涂炭，楚王急需贤能之士帮其渡过难关，得知黄歇的才能之后，楚王三次登门相请，黄歇也觉该为富国安民作点贡献，于是入朝担任左徒之职。　　　　秦国欲称霸天下，出兵攻楚，战火烧到都城附近，楚王惶惶不可终日。在国破家亡的紧要关头，黄歇主动请缨愿意前往秦国说服秦王罢战。楚王应允后，黄歇只身亲赴秦国，凭借口舌之伶俐，学识之渊博，对时势进行精辟论述，终于说服了秦王罢兵休战。但秦王要求将楚国太子送到秦国作人质，黄歇禀明大义忠君爱国，说服家里亲人男儿活在世上，必须要有所作为，本人更应该为黄氏争光。于是，他毅然决定陪太子完赴秦作人质，并且培养太子完学会治国之道。　　　　公元前263年，楚襄王病重，想要太子回国继位，秦王不允，黄歇设计让太子化妆逃出秦国。秦王知道后，欲杀黄歇，在秦相的劝说下，秦王终于答应让黄歇归国……

简介：土屋名美（川上麻衣子 饰）是在百货公司上班的女人，她暗地里和已婚的上司保持着情人关系。在名美年轻的时候，不懂事的她曾经给一家色情杂志社拍摄过裸照，这是一段名美不愿意提起的尘封的往事。近日里，名美常常会接到骚扰电话，电话那一头，不是鸦雀无声，就是传来恶心的喘气声。在下班的路上，名美也总觉得有什么人在跟踪自己。原来，这个变态是一个名叫木村的男人，因为看到了名美的裸照，而对这个女人产生了强烈的好奇心。名美拍摄过裸照的事情最终还是被她的上司知道了，为了减少不必要的麻烦，上司抛弃并且辞退了名美。

简介：1986年，韩国京畿道华城郡，热得发昏的夏天，在田野边发现一具女尸，早已发臭。小镇警察朴探员（宋康昊饰）和汉城来的苏探员（金相庆饰）接手案件，唯一可证实的是这具女尸生前被强奸过。线索的严重缺乏让毫无经验的朴探员和搭档曹探员（金罗河饰）只凭粗暴逼供和第六感推断，几次将犯罪 嫌疑人屈打成招。而苏探员客观冷静，据理分析，几次排除嫌疑，警察内部为了证明与推翻矛盾不断，然而无辜女子还是接二连三被残忍杀害，他们只好达成共识一起合作。此时，一个极其符合作案特征的小青年（朴海日饰）成为最大嫌疑人，警方神经绷紧地锁定住他，同时DNA检测报告也被送往美国，然而案件并未在此处停止。

简介：代号猎鹰的安迪（刘德华 饰）是知名冒险专家，连警方也常拜托他出面解决棘手问题。安迪与搭档碰撞球（王晶 饰）总能利用身手与技术完美达成任务。安迪的朋友沈昆因找到魔翡翠遭到苏联克格勃的追杀，遂在希腊向安迪求助。安迪与小外甥彬彬（小彬彬 饰）、碰撞球一行来到雅典，却阴差阳错与沈昆错过，后者将魔翡翠落在小小彬手中。另一方面，为了阻止克格勃抢夺魔翡翠，国际刑警组织的探员一直与精通中国文化和功夫的克格勃首领力战。小小彬无意中发现了魔翡翠具有语言能力和超能力，并与其成为了朋友。在安迪、克格勃和国际刑警三方的争夺中，他们发现魔翡翠原来是属于外星人……

简介：本片根据沈从文同名小说改编。故事发生在民国初年，在湘西边境的一个小山城里，有一个老船夫（冯汉元 饰），守着一条渡船，帮来往的人渡河。他与外孙女翠翠（戴呐 饰）相依为命，17年前，翠翠的母亲与一名屯戍军士未婚生子，后来二人双双殉情。老船夫不想翠翠重蹈覆辙，一心希望把翠翠托付给一个可靠的人。茶峒城里的船总顺顺有两个儿子——大佬天保（刘魁 饰）和二佬傩送（石磊 饰）。他们同时爱上了翠翠，而翠翠爱的是二佬，三年前的端午节夜晚，翠翠偶然邂逅了二佬，感情的种子就在那时悄悄埋下。　　后来，兄弟俩决定用唱情歌的方式，让翠翠选择。但是因为各种原因，歌声再没有传来了。随后却传来了大佬被水淹死的噩耗。二佬虽仍爱着翠翠，但因为哥哥的死，赌气出走。在一个风雨交加的夜晚，老船夫抑郁而死。翠翠终于明白了许多事情，于是，她守着渡船，等待二佬回来……　　本片荣获加拿大第9届蒙特利尔国际电影节评委会荣誉奖。

简介：黑白密室偵探片，十個角色，一女九男，其中一個是兇手。「過去我沒聽說過這戲，為了拍《8美千嬌》，我看了一遍，令我獲益良多，對那年代的美國電影瞭解得更清楚。」（奧桑）《Marie-Octobre》很寫實，是齣沉重的電影，拍得一板一眼。奧桑往相反方向走　－　輕鬆、非寫實、七彩、諷刺（人物互相指控而來）。 同類克里斯蒂式偵探片，奧桑較喜歡佳咸美頓（Guy Hamilton：《破鏡奇案》(The Mirror Crack'd)，《午日奇屍》(Evil under the Sun)，還有Sydney Lumet的《東方快車》。《8美千嬌》參照此片最多的是佈景設計，像客廳、書房、睡房、飯廳等。

简介：电影改编自世界著名摩托车手伯特·孟若的生平，真实而又生动的再现了一代传奇车手跌宕起伏的一生。故事开始于1899年，孟若（安东尼·霍普金斯 Anthony Hopkins 饰）降生到了这个世界上，从小体弱多病的他甚至被医生下达过“死亡通知书”，但幸运的是，孟若还是顺利的长大了。　　1915年，孟若有了自己的第一辆摩托车，从此开启了与风竞速的生涯，直到七十二岁那一年，孟若依然没有放弃自己曾经的梦想。他改装了二十年代购入的印第安牌侦查摩托车，从新西兰骑往美国。一路上，孟若结识了易装癖者蒂娜（克里斯·威廉斯 Chris Williams 饰）、寡妇艾达（戴安·拉德 Diane Ladd 饰）、销售员佛兰多（保罗·罗德里奇斯 Paul Rodriguez 饰）等一干有趣的朋友们，在他们的帮助和鼓励下最终创下了新的世界纪录。

简介：陳先生(黃子華 飾)本來是最頂尖的特工，但因夥伴一次無心之失慘被停職，同時還得罪了女警佘香(佘詩曼 飾)，欠下情債。二十年後，城中名人相繼失常。陳先生再被委以重任，以為可大展身手，誰知此案與宅男圈內的藥物有關。為了社會安寧，陳先生只好化身不修邊幅的宅男查案，引發各種難題和笑彈。