萨特本

　　民国九年，父亲没有顾及女儿的反对，执意让孝芸嫁入权尊势重的童家。然而，一桩桩诡异蹊跷的怪事却接踵而至。行迹鬼魅的二太太，相继惨死的管家和家丁，不祥逐渐笼罩着这个千年的古宅大院。众人都认为是孝芸给这个家族带来不安和惶恐，童家少爷却对孝芸倾力保护。随着逐渐揭开的内幕，孝芸发现几年前多人罹难的戏班大火，和这个世代相传的家族有着悄然的联系。原来，在这个钟鸣鼎食的家族背后，隐藏着一段让人唏嘘扼腕的爱恨情仇。

　　赌王雷天在赌术大赛中因对手“赌花”上官飞花（宫雪花 饰）出千而失利，心有不甘的雷天自杀身亡。雷天在警队中的好友华叔于公于私都有惩治上官飞花的理由，于是请犀牛皮（冯淬帆 饰）召集其他几位福星罗汉果（曾志伟 饰）、大山地（吴耀汉 饰）和花旗参（苗侨伟 饰）参加赌术特训，以期能够战胜上官飞花。雷天之女雷慧琳（冯秀燕 饰）及其替身也一同受训，鹧鸪菜（洪金宝 饰）因受伤不能参加委托少林僧人清补凉代替。众位福星在赌术老师（郑佩佩 饰）和千王（陈百祥 饰）的调教下进步神速。华叔见时机已到，派出众福星和雷慧琳内应外合盗出上官飞花财产，并通过新一届赌术大赛要上官飞花身败名裂……

　　小津安二郎导演第二十七部电影，只用了九天便拍成，算是融小津各种拍摄手法于一炉的作品。诸如惯用的低视角、特写画面等等，都在本剧出现了。表面上是当时流行的新派戏剧题材──女性为男性奉献牺牲，但实际上则是隐含了很禁忌的话题：女主角千佳子实际上是个参与地下社团的份子。只不过因为这个话题太禁忌，在演出时也不能演得太明显。1933年作品，黑白默片，片长四十七分钟。

　　网络时代的“人肉”技术，通常是娱乐大众的利器，但很不幸，它也可能成为一种杀人工具。
　　上市企业董事长秘书叶蓝秋（高圆圆 饰）在获知自己罹患癌症之后，心灰意冷的她上了一辆公交车，沉浸在惊愕与恐惧的她，拒绝给车上的老大爷让座，引起众议，这一过程被电视台实习记者杨佳琪（王珞丹 饰）用手机拍个正着。佳琪将公车上的新闻火速交给准嫂子陈若兮（姚晨 饰），凭着新闻主编的敏锐嗅觉，若兮将此新闻恶意放大，从而引发了一场社会大搜索，集体讨伐叶蓝秋的道德沦丧。在公众指责和病魔降临的夹缝中，叶蓝秋带着老板沈流舒（王学圻 饰）借给她的100万，彻底玩起了消失。岂料这更使她被冠以“小三”之名。若兮的摄影师男友无意中被卷入叶蓝秋的世界中，为了获得一笔高额报酬，他受雇陪伴在叶左右。而他却不曾想到，这竟是这个饱受指责的女人生命中最后一段时光。叶蓝秋的自杀，彻底颠覆了陈若兮的爱情与生活，也让所有人开始反思……

　　异装癖表演者班丽娜（Terence Stamp 饰）、米芝（Hugo Weaving 饰）因一位好友去世而再度聚首，米芝得到澳洲中部城市的表演机会邀请班丽娜同往，同行费莉茜（Guy Pearce 饰）为圆“沙漠女王”之梦要求搭伙，并借来了经改装的大巴作为代步工具。三人风风火火的踏上旅程，上了年纪的班丽娜于路对往事讳莫如深，与年轻躁动的费莉茜生出不少琐碎口角，米芝则不时陷入对自己那场婚姻的回忆。他们在沿途经过的小镇大秀妖冶，得到了不少惊愕的目光，当然也有赞许。因为一次抛锚，对班丽娜昔日表演难以忘怀的修理工老巴得以加入他们的旅程。众人终于抵达目的地，虽然观众不甚热情，但米芝终于见到了儿子，而班丽娜决定和老巴在一起……
　　本片获1995年奥斯卡最佳服装设计奖等多项褒奖。

　　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。

　　影片改编自菲利普·罗斯2008年出版的同名小说，故事围绕上世纪50年代美国一名犹太裔男青年马科斯·梅思纳的苦闷与彷徨展开。

　　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. 

　　辽沈战役前夕，东北野战军闪击锦州外围县城，将锦州包围。代号为“青蛇”的情报员被捕，身负重任的保密局科长林希受命前往锦州，会同党通局周应群、国防二厅江伟，对此次事件进行彻查。
　　林希实为一名红色特工，他的秘密任务则是解救“青蛇”，助其将锦州城防图交到城外东野手中，支援对锦州的攻坚。不料锦州城内暗流涌动、变故丛生，面对敌人的重重设陷，林希是否能顺利完成任务？与夏青一行人的相遇也像在人生的单行线上突然交叉进一条本不相关的线，似乎让林希找到了新的前行方向，这次他的目的地又在何处？
　　至暗时刻，等待他的必定是一场腥风血雨的战斗！