簡(jiǎn)介：被暴戾的父親傷害、被囚禁在狗籠生活數年的道格（卡萊伯·蘭德里·瓊斯 飾），長(cháng)大后只能與他的數百只狗相互陪伴。然而命運對他的摧殘從未停止，在經(jīng)歷了家庭、愛(ài)情、生存的一系列痛苦打擊后，道格化身為最危險艷麗的“狗神”殺手，和他的狗群一起，向所有傷害過(guò)他的人發(fā)起了絕不饒恕的復仇與反抗......

簡(jiǎn)介：愛(ài)玩手機的凱西在鄰居家幫忙顧小孩時(shí)，驚覺(jué)自己的手機電量急速下降，最糟的是她帶錯充電線(xiàn)！心急如焚的她闖進(jìn)地下室尋找充電線(xiàn)，凱西不經(jīng)意發(fā)現一臺老舊電視，轉動(dòng)頻道鈕后螢幕竟然亮了起來(lái)！螢幕內播送一個(gè)又一個(gè)恐怖故事，雜訊和死神的耳語(yǔ)交織，凱西臉上饒富興味的笑容漸漸消失，隨著(zhù)她轉身逃跑，身后響起：「凱西，你是我的了......」

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簡(jiǎn)介：隨著(zhù)社會(huì )進(jìn)入超高齡化階段，獨居老人數量不斷增加，再加上結婚率和出生率下降。為應對這些問(wèn)題，艾德邇市（虛構城市）的政府成立了“公宅與大齡事務(wù)局” ，推出新的住房政策，包括禁止單身人士購買(mǎi)公共住房，并允許收養單身老人?！　』槎Y前一天，“公宅與大齡事務(wù)局” 員工明珍 （陳楚寰飾）發(fā)現未婚夫出軌。為了不損失公寓定金，明珍 收養了73歲的歐盛德 （朱厚仁飾）。然而，二人生活習慣和性格迥異，搬進(jìn)同一屋檐下后頻繁發(fā)生沖突?！　∶髡涞闹袑W(xué)學(xué)長(cháng)、34歲的司徒梓陽(yáng) （陳羅密歐飾）是“公宅與大齡事務(wù)局” 的顧問(wèn)，負責長(cháng)者婚介部門(mén)。他重視客戶(hù)的精神和情感匹配度，因此成功率低于同事。父母去世、妹妹結婚后，他決定收養婚介失敗的老人。他的兩位養母，劉鄭婉瑜（向云飾）和鐘憶蓮（鐘琴飾），喜歡打麻將，總希望梓陽(yáng) 能再收養老人湊齊麻將桌。當他收養了最近失去兒子、左手癱瘓的70歲李尋開(kāi)（姚彣...

簡(jiǎn)介：心碎的賈莉拉忙著(zhù)張羅丈夫與二房嬌妻的婚禮，婚宴甫落幕，又意外發(fā)現女兒在學(xué)校偷嘗初戀滋味；渴求自由的女兒異想天開(kāi)，竟決心帶男友回到婚姻觀(guān)念封閉的部落拜見(jiàn)家長(cháng)。母女二人在自身幸福、親情羈絆、家族顏面以及傳統規范之間心力交瘁……　　導演的首部劇情長(cháng)片，以少女渴望擺脫傳統束縛的角度，深究貝都因部落的父權社會(huì )與現代社會(huì )的沖突，刻畫(huà)動(dòng)人的母女之情。

簡(jiǎn)介：1940年，多方勢力盤(pán)踞南京，特工金深水（張譯 飾）終日周旋于日本軍方、汪偽政府和軍統之間，如同行走于刀尖一般，有著(zhù)多重身份的他，在滿(mǎn)目瘡痍的南京城里小心翼翼地活著(zhù)，隱藏著(zhù)真實(shí)的自己，也尋找著(zhù)自己乃至整個(gè)民族的生路。直到他遇到了和他一樣心懷國仇家恨、卻似乎比他更游刃有余的林嬰嬰（郎月婷 飾），在和她并肩作戰與各方勢力展開(kāi)明爭暗斗的過(guò)程中，于亂世中求生的金深水第一次開(kāi)始真正地覺(jué)醒……

簡(jiǎn)介：An American mother searches for her daughter who was kidnapped by human traffickers in Central America

簡(jiǎn)介：華沙大學(xué)助理教授馬立克長(cháng)途跋涉，去探訪(fǎng)闊別五年的好朋友兼大學(xué)同學(xué)楊，目的是要請楊返回大學(xué)工作。37歲的楊放棄了大學(xué)教席，在一個(gè)孤立的氣象站工作，與任職小學(xué)教師的妻子安娜及他的祖父住在偏遠的農村小屋，家中甚至沒(méi)有一個(gè)電視機。當地人亦沒(méi)有什麼文化生活，與楊格格不入?！　●R立克是個(gè)前途燦爛的物理學(xué)家，專(zhuān)長(cháng)是研究人工水晶體，曾在哈佛大學(xué)和莫斯科留學(xué)兩年半。馬立克已離婚，採取玩世不恭的態(tài)度對待工作和愛(ài)情。他認為付出的必須要有回報，他無(wú)法理解為何楊可以在這貧瘠的地區滿(mǎn)足自己?！　●R立克對安娜描述外地的風(fēng)光，以幻燈片證明美國的美好生活和蘇聯(lián)共產(chǎn)主義的弊端，引起從小在窮鄉僻壤長(cháng)大的安娜憧憬，兩人甚至幾乎發(fā)生戀情，但她最終還是把他送走?！　∮捌羼R立克與楊對人生、愛(ài)情和科學(xué)的不同態(tài)度，探討知識分子應如何在社會(huì )上發(fā)揮功能，並提出了深刻的哲學(xué)問(wèn)題。

簡(jiǎn)介：This 1992 Japanese film tells the story of a scientist who sets out to create the new super Adam and Eve, humans who cannot be controlled by their emotions. Of course, the end result it not exactly what the good doctor expects.　　comments from imdb　　This modern tale of an attempt to build a creature is one of the best horror films ever made, even if its not a horror film but something else entirely. Certainly its on my short list of all time great films.　　This film was introduced to me by someone who told me I have this film that probably one of the best films you'll ever see. It will move you and touch you and make you think, but if I told you what it is and told you how its done you will think its the stupidest thing on the face of it and you won't watch it. Intrigued I asked what did he mean, and he said, Well its a Frankenstein story, with a very goofy sort of edge, but which uses it to its advantage. My ears perked up, and I being a trusting soul took the tape and watched it. I was blown away.　　The plot concerns a mad scientist attempting to make a new Adam and Eve in the wake of a suicidal plague that is ravaging the world. Locked up in his lab his experiments go differently then either he or we expect. Some of it is silly (The bolts in the neck, the wrestling moves...), all of it is touching and thought provoking.　　I can not recommend this movie enough. If you are willing to take the film on its terms and allow it to tell its story then I urge you to seek this film out and see it. This is an undiscovered gem that will stay with you forever.　　15 out of 10 and then some. 1010　　Also known as The Last Frankenstein, this is an extraordinary, impeccably produced horror film. Director Takeshi Kawamura uses Mary Shelley's novel as a mere launching pad for an exploration of subjects as diverse and fascinating as the nature of love, desire, suicide, mass hypnosis, sex, alienation and jealousy.　　And though the film is dense with subtext, it is also stunningly photographed and rich in atmosphere and detail. The performances are all amazing and Kawamura's sensitive handling of the strange, delicate relationships between the characters results in an emotionally charged, angst-ridden tragedy.　　The scenes of the confused, troubled monster hurtling through a fog-shrouded forest at night are memorable and striking, as is a brilliant home movie-style montage of the film's more curious characters enjoying a precious afternoon at the beach. Kawamura creates resonating visual poetry of horror and sadness barely sighted since Todd Browning's classic Freaks.　　Intelligent, emotional, tragic and real, this is an absolute gem. 910

簡(jiǎn)介：曹保平新戲《怒?！芳磳㈤_(kāi)拍