侦探小说1982

　　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……

　　凯蒂扮演的音乐评论家，是一位老钢琴家(帕特里克饰)的精神支柱。在她不幸离世后，钢琴家来到瑞士，完成了精神的救赎。

　　爱情，荣誉，权利，对死亡的恐惧。人们为了各种各样的理由活着。但当你活者的理由是复仇时，生命中就充满了岔路。JOSHUA 是一个很棘手的黑手党首领，不幸的是，一天在一个最大的毒品商交易中被捕。当你没有路可逃的时候，你时候，你能去哪呢？

　　安德烈和史蒂芬是一对人人称羡的同志情侣，同为交响乐队成员的他们于公于私都形影不离，爱猫摩西则是家中第三位成员，突如其来的暴力举动却令完美人生瞬间瓦解，他们也因随之而来的猜忌和疏离渐行渐远，史蒂芬企图挽回安德烈冷漠以对的心，两个霎时被掏空的灵魂，要如何找回坚持下去的决心？
　　演而优则导的克劳斯韩铎第二部编导长片，以奥地利电影向来见长的冷静犀利，表现角色暗潮汹涌的心理状态，意想不到的情节转折，以及深具象徵意味的安排，自始至终凝聚高度张力，深刻描绘爱情令人完整又捉摸不定的本质，一个人为爱牺牲的极限为何？救赎能否换来原谅？爱能令人欣喜若狂，也能叫人痛彻心扉，如同一隻猫时而与人亲近，时而不见踪影。

　　接吻地面（简称）是一部纪录片，探索了第一个可行的，低成本的方式来扭转气候变化通过（鼓卷）。。。土壤。如果处理得当，土壤（亦称“泥土”）有可能将人类排放到大气中的大部分二氧化碳封存起来。只有一个问题：我们现代的、工业化的、以单作物为基础的农业正在杀死土壤中的微生物，而这些微生物是进行碳封存的（“生物测定”）。但还有希望。一个由科学家、农民、牧场主、活动家和政府机构组成的激进组织正联合起来，在全球范围内开展一场新型农业运动，称之为“再生农业”，这种农业可以增加土壤寿命、储存水和封存二氧化碳。这些人来自不同的背景，但他们有一个共同的承诺——在太迟之前治愈世界的土壤。亲吻地面是一个强大的解决人类最大挑战之一的故事。

　　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。

　　佐佐和小美是一对大学恋人，毕业后，两人因为爱情留在了同一个城市，没有生活琐碎的校园的爱情是纯洁而美好的。然而步入社会后，面对各种的生存和生活压力，两人的感情逐渐出现了不和谐的音符，分分合合，这段美好的初恋的最终结局将是如何……

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……

 In the summer of 1859, a widowed physician reluctantly agrees to take a recently freed slave and her mysterious Caucasian daughter on a 5-day journey through the bloody West to find a distant town__APOS__s Faith Healer. The woman believes her daughter is possessed. The doctor believes she simply carries The Sickness. Either way the fact remains that every living thing the girl touches mysteriously dies.

　　韦一鸣是一名冷酷无情的杀手，一次，他要杀死一个背叛了老大的人，这个人有一个女儿阿雪，于是，韦一鸣将阿雪托付给了自己的女友阿慧抚养，而他自己则前往美国避避风头。一晃眼十四年过去，黑道的格局早已经改变，帮会早已经成为了老二的天下，而老大的儿子阿杰也常常同老二的儿子阿宗之间擦枪走火。
　　一次，阿宗抓住了阿杰，韦一鸣不得不前往营救，与此同时，不明真相的阿雪深深的爱上了韦一鸣，当她知道韦一鸣其实是自己的杀父仇人后，崩溃的阿雪选择了了结自己的生命，所幸得到了韦一鸣的救助，而阿雪也就此知道了自己的养母和韦一鸣之间的关系。