簡(jiǎn)介：夜深人靜，白日的束縛悄然褪去，是時(shí)候迎接真實(shí)的自己。在這里，我們?yōu)槟鷾蕚淞艘粓?chǎng)感官的極致盛宴。每一次心跳，都是對寂寞長(cháng)夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點(diǎn)擊開(kāi)啟屬于你的午夜狂歡。

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簡(jiǎn)介：一群辦公室職員決定在辦公大樓里舉行一個(gè)派對。除此之外，他們還希望在那里能有一些毒品。他們關(guān)于這個(gè)問(wèn)題的討論被“喬·威克斯 (Joe vickers)”聽(tīng)到了，這對他們來(lái)說(shuō)是很不幸的，因為喬·威克斯是一名警察。但更不幸的是，威克斯還是一個(gè)崇拜撒旦的精神病連環(huán)殺手！他不但不逮捕他們， 他還要確保沒(méi)有人能活著(zhù)離開(kāi)派對……

簡(jiǎn)介：Defying the moral constraints of Victorian England and her parents, a young woman engages in unbridled promiscuity with two partners before setting out to capture the fuller sensuality of life itself. Based on the 1915 novel by D.H. Lawrence.

簡(jiǎn)介：明治時(shí)期，繼承了父母遺產(chǎn)的男子南田收一（柳憂(yōu)憐 飾）過(guò)著(zhù)衣食無(wú)憂(yōu)的生活。他的妻子都子（宮地真緒 飾）美麗雍容，氣質(zhì)不凡。只是夫妻間的關(guān)系似乎并不融洽，收一對妻子如癡如醉，幾近瘋狂；都子則對丈夫心存恐懼，一心逃離。此后不久，都子戀上收一的朋友——經(jīng)營(yíng)牙科診所的琴浦（大浦龍宇一 飾），繼而發(fā)生不倫之戀。有感于妻子的異常舉止，收一決心調查，卻被琴浦阻止。而琴浦卻延請明智小五郎調查都子，以障耳目。小五郎的妻子文代（星野真里 飾）自告奮勇，但在調查過(guò)程中發(fā)覺(jué)這段三角戀情正在死亡的泥潭越陷越深……　　本片根據江戶(hù)川亂步的小說(shuō)《妻に失戀した男》改編。

簡(jiǎn)介：故事講述露西天生就是一名收藏家，她與男友分手，而男友是惠特尼博物館的老板。露西不知道該把戀愛(ài)時(shí)的物品放在哪里，于是她在一家陌生酒店的大廳中策劃了心碎畫(huà)廊，在那里她找到了自己的聲音，并學(xué)會(huì )了放手去愛(ài)。

簡(jiǎn)介：影片以重復加碎片式的感官敘事手法，講述了年邁且身患疾病的安東尼（安東尼·霍普金斯 Anthony Hopkins 飾）正在面臨一項艱難的人生選擇——是搬到養老院還是接受女兒尋找的新護工。在這個(gè)過(guò)程中，安東尼發(fā)現自己仿佛進(jìn)入了一場(chǎng)奇怪的時(shí)空之旅，錯亂的記憶和時(shí)間線(xiàn)交織出一段段匪夷所思的故事，而一個(gè)個(gè)陌生又熟悉的人也讓他陷入迷茫?！　∮捌鶕▏≌f(shuō)家兼劇作家佛羅萊恩·澤勒的舞臺劇《父親》改編。

簡(jiǎn)介：月黑風(fēng)高的夜晚，戚近榮（張國榮飾）獨自行駛在路上，電臺里播放著(zhù)鬼故事，這時(shí)車(chē)子突然駛離軌道，戚停下車(chē)檢查，等他再次上車(chē)后驀地發(fā)現后座竟多了個(gè)清純的白衣女子（鐘楚紅飾）！　　下車(chē)后，白衣女子突然主動(dòng)向驚魂未定的戚近榮獻上熱吻，待戚帶其去舞廳后伊人卻隨即失去了蹤影。經(jīng)此一見(jiàn)， 戚像失了魂般心中全是佳人的影子，并在第二天回到舊地尋找。不料找到的卻是一座墳冢?！　”M管朋友們都說(shuō)戚是大白天撞鬼，戚還是對白衣女子念念不忘，他在街上苦候數日，終于發(fā)現了她的蹤影，而此時(shí)她的身份是億萬(wàn)富翁曹三（黃錦燊飾）的情人？戚決定不論人鬼，都要對女郎展開(kāi)不舍不棄的追求……

簡(jiǎn)介：娜奧米·沃茨說(shuō)：“能夠扮演戴安娜——這個(gè)全世界都熱愛(ài)的、標志性的人物，我感到很榮幸，我非常期待迎接在銀幕上扮演她的這項挑戰?！薄　〔贿^(guò)她扮演的這個(gè)戴安娜可不太討好，故事說(shuō)的是她和一位心臟外科醫生哈斯那特·汗（Dr. Hasnat Kahn）從1995年開(kāi)始的一段長(cháng)達兩年的不為人知的婚外情。哈斯那特·汗一直保守著(zhù)秘密，直到2008年才通過(guò)英國的《每日電訊報》公開(kāi)了這段秘密戀情。他聲稱(chēng)戴安娜對這段關(guān)系十分認真，去巴基斯坦看他家人的時(shí)候穿上了當地傳統服裝，甚至有過(guò)為他而改信伊斯蘭教的想法。不過(guò)哈斯那特·汗后來(lái)主動(dòng)結束了這段關(guān)系，他說(shuō)戴安娜“為此而心碎”，甚至偷偷跟蹤糾纏他?！　W利弗·西斯貝格執導過(guò)《帝國的毀滅》（Downfall），這部《Caught in Flight》將由英國的Ecosse Films公司攝制，今年三月開(kāi)始制作，計劃前往巴基斯坦、安哥拉、巴黎等地拍攝，影片預算為1500萬(wàn)美元。

簡(jiǎn)介：A homicidal maniac is accidentally released from a hospital because of a computer error and heads to the site of his past murders to continue his penchant for mayhem. Dr. Joan Gilmore takes off after him while the hospital administrators cover up the mistake and send some staff thugs out to get...

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簡(jiǎn)介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor