阿瓦隆

　　平静的一天，自称钟朗（钟汉良 饰）朋友的拳击手阿宾打电话到圣约翰大学实验室，要求于胜男（齐芳 饰）转告钟朗有一件人命关天的重要事情和他说。得知消息的钟朗和胜男、韩非（释小龙 饰）赶赴比赛现场，谁知经目睹了原本占有绝对优势的好友倒毙擂台的惊人一幕。阿宾弥留之际的证言和他的妻子悲愤的指控，让痛失好友的钟朗愤怒不已，他甚至不惜违抗总探长的命令调查这场拳赛背后的黑幕。在有限的时间内，钟朗他们分头调查与这起事件有着各种联系的相关人员。以诡异的赔率为突破口，毫不气馁的钟朗深入调查拳赛的操盘手。
　　利欲熏心，命若草芥，阿宾惨死一案隐藏着更大的秘密……

　　菲利普（安古斯·麦克菲登 Angus Macfadyen 饰）一直以来都因为心中的一个秘密而备受煎熬，那就是他其实是一名同性恋者。终于，他决定再也不要躲躲藏藏的生活了，他决定将这件事情告诉自己的家人。一天，菲利普找到了自己的父亲欧文（布莱恩·考克斯 Brian Cox 饰），坦白了自己的性取向，儿子的身份和坦诚在欧文的内心里掀起了狂风巨浪。
　　原来，欧文自己也是一名同性恋者，但是他选择了向普世规则屈服，娶了欧文的母亲罗斯（艾琳·阿特金斯 Eileen Atkins 饰）。然而，这么多年过去，欧文的内心里一直都因此而备受煎熬，菲利普走出的这一步对于欧文来说犹如醍醐灌顶。

　　大B哥（陈建华饰）在退出江湖之前，将靓坤（陶小周饰）从马来西亚运往香港码头的一批货告诉了警察，因这事靓坤差点去坐牢，他一直寻找大B哥的下落，最终将大B哥跟儿子小国良（王国良）残忍的杀害！陈浩南（赵世博饰）还是来晚了一步，悲痛无比，发誓要为大B哥报仇，但怕一份秘密文件落到奸人的手中不得不去大陆躲藏，远在大陆的女朋友阿红（金琦饰）也在大陆等他，陈浩南连夜赶去大陆跟阿红见面，靓坤得知陈浩南去了大陆也紧随而去，跟陈浩南斗智斗勇屡屡失败，最终将阿红抓去威胁陈浩南现身，陈浩南为救阿红跟靓坤展开了一场史无前例的战斗！

　　月黑风高之夜，古镜封印阵法被破坏，千年大BOSS僵尸出世，古镜之灵被释放。

　　意形门掌门人金志伟与八卦掌门人雷成，为争风水宝地结下宿怨，双方打擂比武中，金志伟败北出走，其妻林艳芳立誓重振意形门声威。 钱府大少爷钱嘉乐，从小痴迷武功，一心想投靠名师习武。这天巧遇意形门三小姐嘉雯被人欺侮，他出手相救，使出绝招“有钱能使鬼推磨”，救下美女。艳芳将嘉乐视作恩人，欲将大女儿许配给他，谁知大女儿心另有所属。 嘉乐投靠意形门，招收徒弟时，再次使用“有钱能使鬼推磨”绝招却不灵，丢尽脸面。嘉乐决定苦练真功夫，得到一位蒙面黑衣人的暗中传教，武功突飞猛进，令人刮目相看，赢得小女儿嘉雯的芳心。艳芳终于明白了女儿们各有心事，她决定设下擂台比武招亲，扬言只要能打败雷成者皆可与其女儿成婚，并能成为新任掌门人。 比武中，嘉乐失手坠落擂台，雷成登门挑衅；神秘黑衣人终于显露真身。

　　富家千金丁香，与出身低微的长工沈大桥相恋，但因身份悬殊被母亲拆散。为寻求真爱，丁香做了落跑新娘，离家出走去寻找恋人，当她历经艰辛与沈大桥重逢，但此时的他已是国家叛徒，在真爱与正义之间，她该如何诀择？ 　　[2]富商之女丁香与长工的儿子沈大桥相爱，却遭丁母强烈反对，无奈沈大桥远走参军，丁香另许他人。新婚之日，她逃婚去寻找大桥。阴差阳错，丁香邂逅了地下党员方志良，并得知大桥已经牺牲。悲痛之余，丁香决定加入抗日队伍。 　　一次，在执行任务时，丁香发现伪政府的高官李振山酷似沈大桥，几经波折，丁香证实李振山就是沈大桥。看到昔日的恋人如今成为众人唾弃的叛徒，丁香于是好言劝导李振山回头是岸，但沈大桥不愿放弃日本人给予他的金钱和地位，丁香心寒绝望。 　　于是，曾经的恋人成为水火不容的对手。那么，丁香如何继续她的抗战道路？沈大桥将落得怎样的下场？

　　每年二月份，阿根廷西北部就会开始下起热带雨林特有的倾盆大雨，雨水把广阔的森林变成了一片人畜都无法通过的沼泽湿地，炙热的太阳晒在沼泽上，热气与雾气让这儿一片死寂。五十岁老妇人梅恰，就住在这片沼泽地的边缘，她与她的表妹塔丽在这儿经营着一座农场，她们各有四个小孩，各有一个老公，两个家庭在沼泽边挣扎着生存，但是这一年夏天，两个意外事件让她们面临了生存的挑战……

　　第77届奥斯卡终身成就奖获得者西德尼·吕美特（《十二怒汉》、《黄金万两》）经典之作
　　获戛纳电影节最佳男演员奖（拉尔夫·理查森、贾森·罗巴兹、迪安·斯托克韦尔三位男演员同获）、最佳女演员奖（凯瑟琳·赫本）
　　奥斯卡最佳女主角提名     凯瑟琳·赫本
　　影片改编自获诺贝尔文学奖的美国剧作家尤金·奥尼尔的同名自传戏，将一个男人自家中不可告人的秘密毫不留情、赤裸裸地公诸于世。这是一部关于一个戏剧演员青春岁月和他的家庭的伦理片，往事如同幽灵一样纠缠著他，彷佛在他心灵深处跟他在作祟，如果他不倾诉出来，就永远无法安宁。
　　影片立意深刻，细致感人，几位演员的表演精彩绝伦，颇具震撼力。

　　本片荣获第69届威尼斯电影节最高奖金狮奖，是金基德的第18部电影。
　　李江道（李廷镇 饰）是一个十恶不赦的高利贷收账者，他没有家人，也没有恋人，生活的重心就是每天上门向欠债人讨债。他生性冷酷，手段残忍，常常用暴力威胁对方，甚至还把欠债人人打成残废。那些被江道追讨过债务的家庭，从此都过上了丧失尊严的破碎生活。可是突然有一天，一个名叫江美善（赵敏秀 饰）的中年妇女来到了江道的面前，并声称自己就是他的亲生母亲，而江道就是自己那个走失已久的儿子。渴望亲情的江道在半信半疑之下和这个女人开始了一段特殊的“母子关系”。渐渐品尝到亲情温暖的江道却不知道，一场阴谋正等待着他......

　　这部历史剧根据 Chhatrapati Shivaji Maharaj 之子 Chhatrapati Sambhaji Maharaj 的生平改编。

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.