堕落街1981

　　1945年8月9日，美国向日本投下原子弹。就读医科大的青年浩二（二宫和也 饰）在毫无征兆的情况下死于非命。转眼三年过去，浩二的母亲福原伸子（吉永小百合 饰）似乎渐渐承认了儿子已不在人间的事实，她的丈夫、两个儿子皆已逝去，孤身一人在信仰的支撑下走过艰苦岁月。在某个夜晚，浩二突然在母亲身边现身。伸子喜出望外，和儿子热烈交谈。浩二不改善谈的个性，与妈妈有说有笑，当然他盘桓人间还有一个理由，那就是记挂情投意合的未婚妻佐多町子（黑木华 饰）。町子而今在某个小学担任教员，她念念不忘浩二，为此耽搁了自己的婚事。
　　死去的人，和活着的人，他们之间的羁绊依然紧密……

　　电影根据体育历史中著名的传奇真实事件改编，讲述了1972年慕尼黑奥运会篮球决赛中，前苏联篮球队打败了保持了36年全胜纪录的美国队的传奇故事。在决赛结束前三秒钟，美国队以一分优势领先。美国队已经开始提前庆祝比赛的胜利了，因为他们相信比赛结果已成定局。然而，一位来自苏联的不知名篮球教练，率领着艰难、困苦、贫穷中的苏联国家队，比赛结果发生逆转，整个篮球历史也发生了改变。

　　湘西荒山里的落花村，以前是出了名的赶尸村，明清时期村里出了个著名的赶尸先生“齐大师”，在全国等地都曾有分铺，专门负责赶尸回乡。齐大师死后，后人经历了战乱，失去了这门本事。对巫文化有着浓厚兴趣的秦教授，带着学生来到湘西落花村研究“湘西赶尸术”。落花村发生了离奇古怪的事情，灵堂尸体躯干凭空消失。这场研究巫文化的旅途充满波折，各种灵异事件频频发生。在人性与欲望的博弈交织中，落花村隐藏的秘密逐渐浮出水面，迫害村民，将他人命运玩弄于手掌间的阴险之人得到惩治，落花村重归太平。

　　A former Britpop rocker who now works on an organic farm gets caught driving drunk and faces deportation after living in Los Angeles for 20 years. In his efforts to stay in the U.S., he must confront the past and current demons in his life.

 清廷四品带刀侍卫马龙在官场失势，转而投到理藩院任职；背叛师父投靠敌人的王显落草为寇，无恶不作；吕四娘再度隐居避难。利欲熏心的马龙，为获得高官厚禄，不惜民族分裂疆士破碎，而效力于准噶尔部阿睦那撒亲王，参与其阴谋判乱，并受亲王派遗秘密护送联合东西蒙叛乱的“血密函”。乾隆皇帝有所觉察后，派重臣纳兰文德出京察访，却被王显一伙拦劫在山路上，幸得路过此地的吕四娘的阻止。不久，他们又在西瓜地里伏击了马龙一行，混战中，马龙抱着装有密函的宝匣只身逃走，并在当晚投宿到圆通寺。就在第二天清晨马龙准备离去时，被在此寺出家为僧的马师傅海空法师发现，为清理门户，海空法师与马龙展开一场恶斗。这时，仇英和吻妹及时赶来，他们打落马龙身上的宝匣，发现了密函。王显赶到，也被仇英和吻妹打得落荒而逃。马龙追上王显，要与他联手对付仇英和吻妹。受阿睦那撒亲王委派，暗中监视马龙的恶僧凌云子出现在马龙面前，当得知密函遗失后，马上追踪海空法师到沙漠上，两人展开了厮杀。吕四娘已暗中跟踪凌云子多时，关键时刻吕四娘突然出现，一举挫败了凌云子，救出海空法师，并与凌云子约定在千山一决胜负。仇英和吻妹为解开“密函”之谜，来到汤根庙找葛根大喇嘛。葛根大喇嘛解译密函后，劝仇英和吻妹将密函送往京师，报效国家。二人到千山找吕四娘，为维护祖国统一大业，吕四娘不计个人恩怨，命仇英和吻妹将血密函交给纳兰文德带回京师。同时，吕四娘在紫霞观设下“九宫八卦阵”，以逸待劳，在千山绝顶奕棋待敌。王显、马龙、凌云子先后来到千山，使出浑身解数也没逃出吕四娘之手。吕四娘与仇英、吻妹骑马而去。

　　该片作为纪念毛主席“向雷锋同志学习”题词发表五十周年献礼大片，由八一电影制片厂黄宏厂长担任总监制、八一电影制片厂故事片部导演室张玉中副主任亲自执导，著名演员唐国强、李幼斌、巫刚、宋春丽、侯勇等中国影视中坚力量全情加盟。该片从毛主席回忆雷锋生前一张张可敬可爱的微笑照片开始，全新讲述雷锋从一名普通战士成长为全军全国人民共同学习的榜样历程。

 A decorated combat Veteran is court ordered into treatment when an ex-convict shows up on his doorstep and reveals that he must put himself back together again.

　　一名年轻的维京王子，为了遭到谋杀的父亲，踏上一场冒险的复仇之路。

　　「革命無分性別、年齡與時代！電影取材自真實韓國獨立運動，以年輕革命女義士柳寬順為原型，見證一段鮮為人知的歷史。日佔時期，韓國爆發三一運動，十七歲少女上街帶領逾二百萬韓國民眾抗爭，卻被捕囚禁在女子地下監獄，受盡百般凌辱。她非但沒有噤若寒蟬，反而挺身感召其他囚犯打破沉默，從自我覺醒走向集體覺醒，在獄中共同高呼「大韓獨立萬歲」的口號。黑白鏡頭下的獄中景象格外銳利，眾人以堅毅的眼神明志：監獄的高牆囚得住肉體，卻困不住自由的靈魂。高我星從《韓流怪嚇》嶄露頭角，到《末世列車》已成氣候，是次飾演烈女同樣鏗鏘有力。在最壞的時代，讓我們為這位巾幗英雄及所有因抗爭犧牲的義士獻一闋輓歌。

　　民国年间。上海，太仓镇。
　　颜雯（黄圣依 饰）是小镇男人心中垂涎欲滴的高岭之花，出身中药世家、父慈母爱、还有个富有的留洋未婚夫金仁（杨子 饰）。然而，一切美好如烟花一般，因一晚误会消失贻尽。那夜，颜雯被金仁诱骗失去贞操，谣言四起，最终演变为落魄的戏子狗子强奸 颜雯，孰真孰假陷入罗生门。
　　结果，颜雯被金仁抛弃，一夜之间从天堂跌落地狱，一朵美丽的茉莉花黯然凋落。然而，噩运并未就此罢手，孽种的出世，狗子的身份之谜，让颜雯再度陷入宿命纠缠的漩涡之中，女人如花，花如梦，终是空……

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. 

　　The grail is not the gold, nor the books of ancient wisdom, but the 3,000 year old DNA of the mummies, which may lead to a cure for malaria