回家張愛玲傳

简介：武林在经历连番血战平静了三十年后，七十二路烽烟再起，掀起了又一轮征伐。其时有书生方红叶（刘兆铭 饰）撰写系列武林秘记《红叶手札》，专事披露武林秘史。某日，一家书店受托印制红叶手札，不想店长等人却招来杀身之祸，七十二路烽烟之十色旗主田风（黄树棠 饰）部下将杀害店长之凶手截杀。几日后，沈家堡堡主沈青（张国柱 饰）向田风求援，女侠青影子（米雪 饰）随田风等人赶至沈家堡，与先行受邀抵达的方红叶一同会见沈青。昔日兴旺的沈家堡已人去堡空，原来沈青幼年时，沈家受了杀人蝴蝶的诅咒，如今诅咒兑现，杀人蝴蝶潜入沈家堡各处行凶。田风等人出于江湖道义留下探究蝴蝶杀人之根由，却不知陷入了沈家堡与天雷堡的一场隐秘仇怨……©豆瓣

简介：故事發生在遙遠的1500年前，沃提根（裘德·洛 Jude Law 飾）背叛了自己的哥哥尤瑟王（艾瑞克·巴納 Eric Bana 飾），導致了人類和巫師之間維繫了百年的平衡被打破。幸運的是，尤瑟王唯一的後裔逃過了一劫，這令他的血脈並不至於就此斷絕。　　一晃眼15年過去，小小的嬰兒被取名爲亞瑟（查理·漢納姆 Charlie Hunnam 飾），成長在社會的最底層，並且對自己的身世一無所知。沃提根殺死了哥哥之後獨攬大權，施展自己的鐵腕統治手段，一時間民不聊生。一次偶然中，亞瑟拔出了一把深深插進了巨石中的寶劍，在傳說中，這把劍只有擁有王室血統的人纔能夠舉起。這一消息很快就傳到了沃提根的耳中，亞瑟遭到了逮捕。

简介：

简介：

廣袤的美國西部地區，野馬史比瑞特和他的族羣過着平靜的生活。然而，當史比瑞特第一次見到人類時，他就被抓去訓練成戰馬。幸好善良的印第安小男孩小溪將史比瑞特從訓練營裏救了出來，並帶他回到了自己部落。在小溪的部落，史比瑞特遇上了斑紋木馬小雨。這一次，史比瑞特對回家鄉還是留下來感到難以抉擇，因爲他深深愛上了小雨。小溪察覺出了兩匹馬的愛情，他決定讓他們一起回史比瑞特的家鄉。當史比瑞特剛剛依依不捨的和小溪告別後，小溪的部落就遭到了騎兵的襲擊。史比瑞特和小雨馬上回去救小溪，慌亂之下，小雨替小溪擋了一槍，而史比瑞特也重新被抓……

简介：

阴暗压抑的工业小镇，刺耳的机器轰鸣噪音。亨利•斯班瑟（杰克·南斯饰）初次拜访女友家，然而目睹到的却是一个怪异扭曲的家庭，霸道的母亲、无能的父亲、植物人似的祖母以及笨拙的女儿。而更令亨利感到无助的是，他被迫与女友结婚。一夜之间，亨利成为一个畸形儿的父亲。相貌丑陋恶心的婴儿让亨利异常恐惧焦虑，也让新婚妻子因忍受不了婴儿的啼哭而半夜出逃。亨利再也忍受不了如此不堪的生活和夜夜噩梦，他最终亲手用剪刀肢解掉了这个畸形的早产儿。                                                                      　　由美国电影新浪潮运动旗手大卫·林奇创作的长片处女作《橡皮头》，历时五年完成。一经公映，便以强烈的前卫诡异风格挑战了当时还相当传统和保守的电影界。在情绪化的摇晃镜头与随处可见的阴暗腐败中，大卫·林奇构筑出了一幅扭曲病态的家庭人物关系，赤裸裸地破开人性的阴暗面。这种运用弗洛伊德心理分析，来剖析人类精神世界中焦灼郁闷的手法，加上极具视觉冲击力的影像，让大卫·林奇在影坛独树一帜。

简介：

简介：

简介：

简介：來自旁遮普一個村莊的四個朋友有一個共同的夢想：去英國。問題是他們既沒有簽證，也沒有機票，而一名士兵答應帶他們去夢想之地。　　談到《驢子》，演員沙魯克·汗表示這部電影的英文名爲“Donkey”。但它的標題是“Dunki”，因爲在印度，有些人將“Donkey”發音爲“Dunki”。 他進一步表示，《驢子》是“一個關於人們想要回家的故事……當你最終接到召喚時”。　　該片展現了印度人猖獗地利用名爲“驢子航班”的非法後門路線移民到加拿大和美國等國家的負面現象，但沙魯克·汗也澄清說：“這是一部喜劇電影，他（指導演 Rajkumar Hirani）的電影總是喜劇和很多混合情緒，以及關於國家的事情。所以，這是一部大型公路片，它穿越了世界各地，最後回到了印度”。

简介：Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.

简介：對1964年樣板戲（芭蕾舞劇）的記錄，本身也是改編自謝晉1961年的同名電影。

简介：在漢城郊外，獨自一人的青年餘永元（韓石圭飾），經營着一家從父親接過來的小照相館。他時常帶着微笑，坦然面對生活，照相館裏掛着不同的照片。女交警金德琳（沈銀河飾）由於工作的關係，每天都要到照相館沖洗照片...