在山区调查一起谋杀案的海俊（朴海日 饰）遇到了死者的妻子瑞莱（汤唯 饰）。“我担心他没有从山上回来，以为他最终可能会死。”瑞莱对丈夫的死没有表现出任何激动的迹象，并且她的行为与悲伤的亲戚大相径庭，警方认为她就是嫌疑人。当海俊审问和监视瑞莱时，他意识到他正在逐渐对她产生兴 趣。与此同时，尽管被指控犯罪，但瑞莱开始对海俊采取大胆的行动。一个隐瞒真相的嫌疑人。同时想要怀疑嫌疑人的侦探。他们有了分手的决定。
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……
英国伦敦某个高档社区，事业有成、生活优渥的迈克（汤姆·布彻 Tom Butcher 饰）和妻子克莉斯蒂安（蕾切尔·布雷克 Rachael Blake 饰）正在进行着不甚愉快的晚餐，夫妻二人语露锋芒，相互讥讽和试探，气氛分外尴尬。正在这时，三名不速之客破门而入，将二人捆绑起来。原来他们的儿子塞巴斯第安（汤姆·凯恩 Tom Kane 饰）在外惹出麻烦，致使泰迪（桑尼·穆斯林 Sonny Muslim 饰）、奥塞德（Ashley Chin 饰）和瑞恩（Jumayn Hunter 饰）冲入他的家中，守株待兔。 时间在煎熬中缓缓流逝，青年们蛮横无理，恣意妄为。更令迈克夫妇担忧的是，他们的儿子随时会惨遭毒手。一切开始朝着不可预测的方向发展……
改编自William Kamkwamba所著自传《驭风男孩》（The Boy Who Harnessed The Wind），讲述一个改变人生的故事：Kamkwamba本人在13岁那年，以小块金属废料、旧自行车零件和木材修建了风轮机，拯救了自己的村庄。 13岁的Kamkwamba因家里没钱交80美元一年的学费而被学校开除，热爱学习的他溜到学校的图书馆，找到了一种拯救饥荒村庄的方法：用父亲的自行车的主架打造了一个简陋但可行的风车，为西部地区提供了急需的电力，不受政府断电的干扰。这个发明也让Kamkwamba得到马拉维一名教授的资助，获得学校的奖学金，并于非洲大陆其他的发明者进行深入交流。
Jennifer’s claim of having been raped by a classmate lies heavily on this idyllic village in the Swedish provinces. In chilling images, the director portrays how this fourteen-year-old and her family are brutally shunned by the close-knit community.
影片讲述了饱受家庭和社会催婚压力的恐婚族都市女白领28岁女主高鑫（张倩如饰），偶然遇到了与众不同的追求二次元梦想的零恋爱经验26岁男主陆嵘二（钟正饰）。在相处过程中，相互吸引，最终决定以不结婚为目的谈一场纯粹的恋爱。
为了修筑兰州——新疆的铁路，一支筑路大军战斗在新疆天山地区。容书记带领工人们向困难和大风雪作斗争，并对王队长和孔技术员错误的保守思想进行了斗争，做了大量的思想工作，使他们认识了自己的错误。容书记发动群众大搞技术革新，苦干加巧干，在天山南北各少数民族兄弟的帮助下，终于修通了这条铁路。
本片依据Howard Hughes的生平改编。 Howard Hughes（Leonardo DiCaprio 饰）出生于美国德州休士顿，18岁时，他继承父亲德州油井的财富，心怀电影梦想移居好莱坞。1926年他买入125家戏院的控制权，砸下数百万美金拍了实景空战史诗电影《地狱天使》，成为著名的制片人；1939年，他入主环球航空公司，他迅速使公司扭亏为盈，二战期间与美国军方合作，主持了蓝云杉飞机的发明和改进。 Howard Hughes在事业上取得巨大成功的同时，他也饱受了忧郁症和精神官能强迫症的折磨；他的感情生活波折重重，Katharine Hepburn（Cate Blanchett 饰）、Ava Gardner（Kate Beckinsale 饰）先后离开他，让他备受打击。 影片选取Howard Hughes重要的生活事件，真实地再现了他的传奇。
电影根据真实故事改编，是一部用社会时间刻度探索个体生命价值的艺术作品。当一个生命进入了倒计时，另一个生命即将诞生，生死之交这一刻，血脉里流淌着幸福……
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.
迷月山，爷爷与八位小战神在此过着与世无争的生活，小战神们都拥有不可思议的神力。 这一日，狼妖苍冥肆虐村里，却被小战神们差点打伤，苍冥开始与妻子肜姬密谋对付小战神。同时，苍冥的老对头白漓也盯上了八个小战神，白漓是一只白狐妖，她一心想获得小战神身上的神力。 白漓设法将小战神引到家中，想要暗害他们，却被小战神识破。而此时苍冥与妻子肜姬假扮成人住进了白府，想要杀害白漓未果，不过却意外的抓了小战神“宫”。 小战神们中了狼妖埋伏，为了救出自己的兄弟，小战神彦愿意牺牲自己，让白漓功力大增，但要求白漓打败狼妖之后放了他的兄弟们。白漓被彦感动，答应了他的要求 苍冥与妻子逃回狼域搬来救兵，一场大决战即将开始……
