影片围绕一个来自俄克拉荷马州的美国石油钻井平台钻工比尔(达蒙饰)展开。他不得不前往马赛，拜访他久未谋面却锒铛入狱的女儿(布雷斯林饰)，他的女儿坚称并没有犯下谋杀罪。面对语言的障碍、文化的差异，以及复杂的法律制度，比尔决意孤注一掷拯救他的女儿。而在这个过程中，他与一位当地的女性和她的小女儿建立了友谊，也开始了个人的探索之旅，并获得了更大的归属感。
影片讲述创世之初，天降异兽，凡间各国将异兽们供奉为神，并借助异兽的神力治理国家。数百年后，供奉九头巨兽相柳为神的隐国为了抢夺供奉青龙为神的龙国的神兽之力，倾巢而出入侵龙国。龙国士兵项天在敌军压境的关键时刻临危受命，携护国神兽青龙回王城传递战报，并在龙国守护者家族凌家之女凌璇玑的指引下，不畏艰险重返边境战场，率领龙国士兵抵御隐国大军，守护龙国的故事。
三个暴窃贼阴差阳错遇上警队，更错乱辗毙一警。为求脱身，三人走入一酒吧，却发现店内其一人质竟就是警方原要追捕的重犯。此时警方已把酒吧重重包围，决定进行强攻……
10年前，白兰（宋佳 饰）女儿铃铛被绑架并意外身亡，重案组警官陈浩（王千源 饰）许诺孩子母亲一定将凶手绳之以法。无奈经过漫长的追查却一无所获，陈浩带着遗憾离开警队。10年后，陈浩偶然间发现新线索，身患绝症的白兰重拾希望，决心为女寻凶，两人展开调查并发现了罪犯留下的蛛丝马迹。与此同时，李爱军（冯远征 饰）外孙女也遭人绑架，绑架手法跟10年前如出一辙，面对狡猾的嫌犯，陈浩和白兰能否抓到凶手，一偿夙愿…
An emotive anthology by seven of Singapore__APOS__s most illustrious filmmakers, celebrating SG50 through the lives and stories of Singaporeans. Directed by Eric Khoo, Jack Neo, K. Rajagopal, Royston Tan, Tan Pin Pin, Boo Junfeng, Kelvin Tong.
剧情灵感来自戴维森的真实生活，包括他那在911事件中去世的消防员父亲。主角为二十多岁的男子Scott，他跟妈妈住一起，梦想是当纹身师，但每天除了吸麻和朋友鬼混、暗暗勾搭青梅竹马之外无所事事。而妈妈找的新男友却引发了一系列事件，迫使开始Scott正视自己的人生。
丈（余文乐 饰）是香港深水区的一名放蛇警察，作为底层的警察，丈整日与一个难得见光的世界打交道，这里充斥着暴力、毒品，是社会阴暗的一个角落。要想在这里生存，丈不仅要学会如何做警察，更需要学习黑道的生存法则，渐渐地丈的身份越来越模糊，他生活在黑与白之间的灰色地带。Lulu（冼色丽 饰）是这一区的妓女，丈与之保持着来往，却始终没有将关系向前推进。一次意外，丈误杀小头目四眼堂（廖启智 饰），神秘杀手（樊少皇 饰）是唯一目击者，为了自保，丈和神秘杀手展开了一场追逐……杀手背后有怎样的秘密？丈是否能够逃过此劫？《青苔》为我们展现了社会阴暗处的小人物们如何似青苔一般生存。
神秘赛车手袁小衫忽然出现在最大的赛车歇会疾风会并打败几位元老，牵扯出隐瞒两年前的疾风会会长失踪之谜。袁小衫为了寻找父亲失踪之谜，向疾风会会长挑战，只为寻找父亲当年为何失踪的线索。
银行新开了隐私保险箱业务，其中有三个箱子无人认领，银行派出职员调查三个箱子的主人，发现箱子里分别放着头发，身份证，书信，而且每个箱子藏着一段过往的秘密，最后秘密中的忏悔和愧疚在宽容里化解。
电影讲述了一个佛与魔较量的故事，为阻止上古妖魔罗刹降世，将世间颠覆成万劫不复的寒冰炼狱，少林寺弟子慧海踏上了寻找降龙罗汉英雄之旅，青梅竹马的上官灵素始终陪伴守护、不惧未知不畏困难，助力慧海禅武合一破除心魔，参透少林精神，还苍生太平与生机。
童安是一位儒雅的的网络主播，在一次直播的过程中，他被一串神秘的弹幕所吸引，继而和弹幕的发送者章磊连麦。章磊则向童安及正在收听童安直播的网友们讲述了三个小孩子身边发生的故事，每一个故事中都会有一些若隐若现的关联，但到底章磊说这些是什么意思，童安并不知道，众多网友也跟着揣测和点评，可是听到第三个故事时童安发现他讲述的故事中的这个孩子和自己的女孩很相似，但又不能确定，因此疑惑更重了，在这种心理的驱使下童安一点点开始不安和紧张，他怀疑章磊绑架了三个孩子，可是章磊为什么这么做？孩子们究竟在哪儿？情况怎么样了？
1950年初，云南省哈尼族支系爱尼人聚居的爱尼山宣告解放。躲藏在原始森林中的窝古力匪帮，预感到末日即将来临，企图打出黑森林，与善良的爱尼人和__QUOTE__红汉人__QUOTE__拼个你死我活。联防队长扎格利奉解放军肖排长之命，离别爱妻兰娜和幼子小利戈，到山中客店去接一批枪支弹药，半路上遇到匪徒腊本都，两人展开了一场格斗，武功超群的扎格利生擒了腊本都。他从腊本都的口供中得知了敌人的信号，一个引匪山林，一网打尽的战斗方案产生了。猎手杜巴老爹的孙子果龙，协助扎格利转移枪支，在森林里遇到猛虎，慌忙躲避中又撞上狡猾的土匪多飘。果龙与多飘展开了一场格斗，最后双双倒在河滩上，扎格利暗中跟随土匪乔腊，摸清了窝古力匪帮的虚实。乔腊被窝古力打伤，扎格利背着受重伤的乔腊，闯到土匪庄铁的窝棚前，通知庄铁敲木鼓传窝古力的命令：明晨五更，林边集合。木鼓声回荡在整个大森林中，这鼓声是窝古力匪帮的丧钟，也是爱尼人胜利的角号。扎格利怀着兴奋、喜悦的心情，回到山寨。暮色中，他亲眼看到联防队副队长约墨打昏了前来与村中暗藏匪徒联系的土匪军师皮落。约墨大叔告诉扎格利一切都安排好了，扎格利便放心地踏着月色朝自己家走去。当他快步登上竹梯，正要跨入家门时，突然从暗中飞来一支毒剑，正中他的要害。扎格利强忍着剧痛向闻声而来的妻子兰娜口授了敌人的信号，说完便倒在平台上，为受尼人的幸福献出了年轻的生命。天色朦胧透亮，杜巴老爹与联防队员在龙巴门严阵以待。一名匪徒正欲放火焚烧龙巴门，忽被一支暗箭射中倒地。杜巴老爹抬头望去，见草丛中墨影一闪，杜巴老爹扬手投出标枪，黑影应声倒地。大家这才看清楚，窝古力藏在寨子里的耳目、杀害扎格利的凶手，正是联防队副队长约墨。一声枪响划破林中的寂静。窝古力匪帮听到信号，蠢蠢欲动。但他们还未跨出地盘，便被早已埋伏好的解放军消灭在山谷中。
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.
