恐惧幻影

简介：Jim Whitman（杰克·霍夫曼 饰）是一个性格内向的男孩，他热爱音乐，并且在作曲方面有着独特的天赋，某天他听见一个奇妙的声音回荡在自己的脑海中，开始他不以为然，依旧过着自己的生活。后来，他遇到了一个社工，对方是一个十分有魅力的女人，本以为看到了生活的希望，即将展开甜蜜的恋爱，但就在这时，他脑海中的那个声音又一次出现，并且越来越大，越来越具有影响力，他开始变得暴躁易怒，仿佛人生都被这个莫名的声音所掌控……

简介：柯道在编缉部工作，最近妻子发现他精神有些不正常，说话做事有点神经质，追问之下才知道，他被司马文的《歪打正着》惊险故事所困扰，深陷其中不能自拔。妻子带他看医生，医生让他外出旅行舒缓情绪。在去外地的火车行李架上，摆有三只一模一样的旅行箱…

简介：一个典型而又引人入胜的悬疑故事：一个汽车旅馆里，住进了10个人，他们中间有司机、妓女、过气女星、夫妇、警探和他的犯人，还有神秘的旅馆经理。这天风雨大作，通讯中断，10人被困在了旅馆里，惊悚的故事开始了。他们一个接一个的死去，并且按照顺序留下牌号。10个人存活下来的渐渐变少，他们开始恐慌，互相猜忌，却无意间发现了彼此间的联系。但是，大家怀疑的嫌疑人却纷纷死去，谜团笼罩在旅馆狭小的空间里，这样的凶杀案件却有着人们猜不到的真相……

简介：法国的夏天不只有明媚的阳光，也有青春的悸动，中年生活的暗流涌动。一对姐妹的暑假将和离婚的父母分别度过，七月与母亲在一起，八月和父亲一起度过。

简介：马进欠下债务，与远房表弟小兴在底层社会摸爬滚打，习惯性的买彩票，企图一夜暴富，并迎娶自己的同事姗姗。一日，公司全体员工出海团建，途中，马进收到了彩票中头奖的信息，六千万！就在马进狂喜自己翻身的日子终于到来之际，一场突如其来的滔天巨浪打破了一切...

简介：茅山道士麻麻地与同行不和，带着两个徒弟阿豪和阿强另起炉灶，在江南一带赶尸为业。两个徒弟顽劣非常，经常操纵僵尸互相对打。阿豪自认法术修成，请求师傅让其独立赶尸。得到师傅应允，阿豪赶着一只大地主任天棠的僵尸独自上路...

简介：水都奥多马雷，相传在这里有两只传说神奇宝贝-拉帝欧斯与拉帝亚斯，秘密的看守着守护这座城市的宝石-心之水滴。小智一行人正好造访这里，参加完水上竞速赛后，并从当地居民口中得知这项传说。这时，闻名世界的怪盗姊妹出现了，她们为了夺取心之水滴，利用探测器，找出了变成人型的拉帝亚斯，想借此查出心之水滴的下落，正好被小智撞见。怪盗姊妹想利用心之水滴的力量掌控整个水都奥多马雷，小智该如何制止她们的计划？

简介：本片讲述了一位天才盲人钢琴家对抗不公命运的传奇故事。主人公米耶特出生于波兰一个贫困的农场家庭，12岁时因疾病视力渐逝、又经历父亲离弃、母亲早亡、修道院清冷无助的寄养生活……纵然拥有音乐天赋，他的钢琴之路却始终伴随着冷眼与嘲笑，为了弹琴他不断碰壁，又再次遭受朋友和心爱之人的背离……这个被命运几经捉弄，几乎毫无还手之力的弱者，唯一能够用来反抗的，便是他的音乐，音乐是他重新认识、沟通世界并且对抗不公命运的唯一途径……

简介：根据法国作家丹尼尔本纳的小说《替罪羊》改编。这一家有点奇怪，妈妈总是在外追爱，大儿子班哲明所到之处总是发生意外，使得警方和同事都开始怀疑他。这一切都是天意还是被人陷害？这个史上最倒霉的男人能否揭发真相，找出一直设局弄他的人？2013年戛纳影展最佳女主角贝芮妮丝贝乔主演。

简介：男主角是已经参加工作的成年人，他以与朋友们相见为契机再度回顾了自己的过往，逐渐开始与多年前就断绝了关系的母亲联系...

简介：青年郭振华（成龙 饰）赴港谋求发展，路见不平之下卷入两派黑帮争斗，却阴差阳错做了帮派大哥，郭振华反思此一段奇遇，发觉是街边卖花的玫瑰夫人（归亚蕾 饰）将好运带给了自己，自此谈判、出门前总要购买玫瑰夫人的玫瑰以求心安。郭振华将帮派所属丽池饭店改为夜总会经营，饭店前任老板之女杨露明（梅艳芳 饰）出于还债在夜总会表演结果大红大紫，郭杨二人更发展出了一段恋情。觊觎夜总会生意多时的福建帮频频向郭振华发难，郭一如既往向玫瑰夫人求运，意外发现玫瑰夫人正身陷更大的麻烦，原来她为使外地的女儿安心读书编造了自己堂皇的身份，而眼下终于面临戳穿，郭出于感激帮助玫瑰夫人圆谎，由此引发了连环笑料……　　本片根据Frank Capra的作品《一日贵妇》改编，大量香港明星在本片中客串演出。

简介：Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.