汤姆·索亚历险记

　　查理（乔尔·埃哲顿 Joel Edgerton 饰）早已经厌倦了家乡死气沉沉的氛围，决定带着同样野心勃勃的未婚妻尼古拉（杰米玛·卢珀 Jemima Rooper 饰）远走高飞，投身于外面五彩斑斓的花花世界。然而就在两人准备动身之时，传来了父亲的死讯。父亲留下了一间庞大的鞋厂，查理不得不接手经营管理。
　　直到此时，查理才知道，表面上运作正常的鞋厂，其实早已经负债累累不堪一击，不仅如此，查理还不得不辞退十五名一直以来为了鞋厂兢兢业业工作的老员工。一次偶然中，查理结识了名为劳拉（切瓦特·埃加福特 Chiwetel Ejiofor 饰）的变装皇后，并且在一群和他一样的女装爱好者们之中觅得了商机。

　　陈武雄嗜赌，在大家乐和六合彩的旋风中欠下赌债逼于无奈而打算卖女儿，儿子士豪知情，带着妹妹离家，投靠妈妈。却与妈妈同居人大吵携妹妹愤愤离去，兄妹二人流浪街头又遇人口贩子盯紧将捉妹妹——争斗随即展开……

　　Luisa has a habit of bringing her dates home, irritating her son, Cesar. When Cesar invites his best friend Pablo over for a sleepover, Luisa__APOS__s flirtations become too much to bear, especially as Cesar has his own feelings towards Pablo.

　　二十年前长孙家遭八大高手灭门，长孙盈、长孙卿带着家传武学从秘道逃脱后，追随拜火教主东方彬，分别化名孙盈、王太白，自此决心杀八大高手报仇。段小峰与王非烟继续查案，亲眼目睹蔡上将殒命，又接到了长春子的死讯。灰心丧气的段小峰回到京师偶遇假装被卖到沙洪帮的孙盈，将其带回叶家安置，当孙盈决定放弃杀叶无忌正准备离开时，却被叶无忌发现其真实身份。二人决战欲做了断，战后两败俱伤。身负重伤的叶无忌回家途中被王太白暗害。峨眉派逍遥子到六扇门奔丧，段小峰从其伤口发现，这正是那夜追杀他们的黑衣人。明白了一切的段小峰携王非烟前往拜火教总坛光明峰。正邪两派人马、以及两拨凶手齐聚，此案的真相以及二十年前的秘密被一一揭开。

　　神色有点忧郁的大卫（蒂姆·罗斯饰）是一个专门照顾重症病人的护士。他喂他们吃饭、替他们淋浴、帮助他们大小便, 做一些连最亲的亲人也不愿意干的事情。他是一个沉默寡言却很尽职的人，对病人的照料无微不至。病人过世后，他会感到很悲伤。而在参加病人的葬礼后，他又要开始找一个新病人，建立一段注定要以悲剧终结的关系。为了纾解精神上的压力，他天天跑步。大卫照顾的病人玛尔塔是一个癌症已经扩散、需要化疗的病人。最初她对大卫有些戒心，后来她从朋友那里得知大卫也有过一个患了末期癌症的儿子，才完全信任他。 当玛尔塔再也无法忍受化疗的严重副作用时，她要求大卫帮她安乐地死去。大卫一开始拒绝了她，但几经犹豫后改变主意，帮她完成了这个心愿。

秀才王文在外出途中结识了青楼女子鸦头，两人情投意合，王文意外发现鸨母狐妖的身份，幸得鸦头相助，得以逃跑。之后，鸦头被鸨母掳走虐待，王文悲痛万分。多年后，王文携子王孜救出了鸦头，击败鸨母，一家人团聚。

　　2年前，科幻小说家大卫·戈登（约翰·库萨克 John Cusack 饰）遭受了丧妻之痛，时间并未抚平他心中的伤口，反倒令其愈感空虚。为了排遣心中的孤独，大卫决定收养一个小孩，当然这个决定遭到周围亲友的质疑和反对。不顾他人的意见，大卫领养了名叫丹尼斯（鲍比·科尔曼 Bobby Coleman 饰）的小男孩。丹尼斯虽然清秀可爱，性格却非常古怪。他自称来自火星，终日躲在纸盒子里，不与其他小朋友玩耍，喜欢用没有胶卷的相机拍照。丹尼斯的到来为大卫的生活注入活力，也为他带来久违的爱情。而随着生活的继续，大卫却发现与火星男孩的相处实非易事……
　　本片根据David Gerrold的获奖科幻短篇小说改编。

　　胡安妮塔受够了现在的生活，她离开已经长大的孩子，驱车上路寻找新的开始。

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family__APOS__s history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it__APOS__s the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family__APOS__s world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe__APOS__s clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

文乐和他的“山崩乐队”享誉摇滚界。乐队成员方婷暗恋文乐，但被逼嫁他人，追逐中遭遇车祸。文乐因此失去灵感，逃避现实，偶遇老音乐家杜笙，在他的音乐治疗中心重燃对音乐的热爱。最终，文乐与方婷重逢，并揭开了杜笙隐藏多年的秘密。

北京某医科大学的医学博士生董秋雯梦见弟弟董秋华被杀，在回山村老家寻找弟弟的过程不仅德高望重的崔茂山和村里人对董秋雯的态度发生了变化，连母亲也开始埋怨女儿做事太鲁莽。但董秋雯却不为所动，最终发现了事情的真相。

　　年过七旬的美国联邦调查局局长埃德加·胡佛（莱昂纳多·迪卡普里奥 Leonardo DiCaprio 饰）应《犯罪纪实》之邀口述个人回忆录。胡佛向回忆录代笔作者讲述了他自1919年以来的重要人生历程：逮捕左翼分子领袖、缉拿臭名昭著的黑帮头目、破获震惊全美的林德伯格绑架案等等。依据胡佛的讲述，他力排众议，改组联邦调查局，引入高科技侦查手段，尽心尽力为美国社会的和平与稳定而操劳。然而另一方面，他的私人生活却成为了他想要极力掩饰的部分。
　　就在胡佛回顾自己一生的时候，美国社会依然有诸多动荡因素存在。胡佛任用多年的私人助理克莱德·托尔森（艾米·汉莫 Armie Hammer 饰）也似与他保持着不寻常的关系……