純情漫畫

简介：　　多年前，周克一襲西裝獨身硬闖黑幫窩點，救出兄長巴諾，最終卻被捕入獄。一晃多年，出獄後的周克化名李非混跡市井過着無憂無慮的生活。然而平靜的街頭暗潮湧動，新的惡浪更是可怖，而這一次，周克又該如往何方。

简介：大衛·斯佩德扮演一位生活中並不很得意的銀行職員，一次聚會中他偶遇高中時期好友Max（亞當·桑德勒 飾），Max自稱目前任職於美國聯邦調查局（FBI），二人經過一系列瘋狂派對後，又僞造了假死亡，踏上了全新的冒險之旅。

简介：幼兒園女老師April（海倫·亨特 Helen Hunt 飾）一年前與比自己小的同事Ben喜結良緣，她迫切想要一個孩子的心願給對方造成很大的壓力，在醫院養病的母親勸她領養一個她又不接受，她要一個親生的孩子，這一切都是因爲April是領養兒，敏感的她從小就認爲母親對自己和對弟弟不一樣。Ben突然提出離婚，母親又病逝，April真正剩下自己一個人了。　　命運峯迴路轉，一個自稱Bernice（貝特·米德勒 Bette Midler 飾）的脫口秀女主持人跑出來跟April說自己是她的親生母親，她口若懸河滔滔不絕，一心想彌補39年來的缺憾。同時愛情亦透出一線光，April一個學生的父親Frank（科林·費爾斯 Colin Firth 飾）被她吸引，二人控制着情慾的滋生，卻更令它蔓延。當April認爲一切都已經向好的方面轉變時，她懷孕了……

简介：As the film opens on an Oklahoma farm during the depression, two simultaneous visitors literally hit the Wagoneer home a ruinous dust storm and a convertible crazily driven by Red, the missus' brother. A roguish country-western musician, he has just been invited to audition for the Grand Ole Opry, his chance of a lifetime to become a success. However, this is way back in Nashville, Red clearly drives terribly, and he's broke and sick with tuberculosis to boot. Whit, 14, seeing his own chance of a lifetime to avoid growing up to be a cotton picker all my life, begs Ma to let him go with Uncle Red as driver and protege. Thus begins a picaresque journey both hilarious and poignant.

简介：一名法医开始怀疑自己的新婚丈夫是警方一直在通缉的连环杀手。这个发现将使这名法医和她的前男友，一名警探陷入危险之中。

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简介：In this clever homage to 80's slasher films a group of teenagers looking to party get stranded when their ride breaks down and end up being stalked by a　　cannibalistic killer.

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退休的黑幫首領查理·阿切爾被一個兇猛的街頭幫派謀殺，目睹一切的莉齊·戴維斯報警，但證詞遭到警方質疑。於是查理的兄弟同是黑幫的裏奇·阿切爾開始進行調查，用自己的方式對這些年輕罪犯進行懲戒。

简介：龍船河邊女兒會上，龍船寨主的女兒阿朵與水手阿龍一見傾心，不久卻因母親龍船伕人要維護本寨利益而被迫許婚權貴。迎親路上，阿龍冒死搶親。兩人誓死捍衛真愛，真情最終大家，機緣天成。

简介：康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游客纷纷下山，取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。　　Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。　　The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp.　　Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.

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