卫斯理之老猫

简介：珍接受了照顾盲人西诺比娅的看护工作。可是慢慢地，珍意识到，西诺比娅正在慢慢地取走她的血...

简介：故事发生在1973年的格拉斯哥，对于男孩詹姆斯（威廉·艾迪 William Eadie 饰）来说，这个夏天并不好过，炎炎的烈日让人怎么都打不起精神，而清洁工人的大罢工让街道瞬间变成了堆满了腐臭垃圾的垃圾场。当然，这些都不是最重要的，最让詹姆斯寝食难安的是自己的朋友赖安（Thomas McTaggart 饰）的死亡，是他的死和自己有着千丝万缕的联系。　　透过詹姆斯的眼睛，我们看到了肮脏不堪的世界，但同时，他茫然踌躇的目光里依然饱含着对未来的憧憬和对爱的渴望。在谁也不知道的地方，一颗幼小的灵魂不断的被痛苦纠缠着，磨砺着，作为代价，它将绽放出最最让人惊诧的纯净光芒。

简介：英俊青年麦克尔（Walter Slezak 饰）是画家苏莱特的专属模特，以麦克尔为原型，苏莱特创作出了精美的艺术作品，名声大噪，登门求画的人络绎不绝，但苏莱特为了保存和麦克尔的美好回忆拒绝出卖杰作。年轻貌美的女伯爵拜访苏莱特，请求后者为自己画像，麦克尔默默注视着女伯爵，四目交投之下，情意暗生，苏莱特思量之后决定为女伯爵作画，但创作不久因苏莱特无法描画女伯爵的眼睛而陷入停滞，麦克尔提笔代劳，女伯爵美丽的神色跃然画上……麦克尔与女伯爵相爱并逐渐离苏莱特而去，苏莱特承受着年青人的欺骗和背叛，将内心的悲苦呈现在画作上，受孤独煎熬的生命之火渐渐熄灭……　　本片根据赫曼·邦的同名小说改编，是电影史上最早涉及同性恋题材的作品之一。

简介：《无头》快乐的派对过后，Isabella（刘心悠 饰）和男友Harry（陈家乐 饰）驱车夜归。Harry为躲避狗仔偷拍出了车祸，致使女友的头被迎面而来的火车撞掉。葬礼上，成为鬼魂的Isabella见到了朝思暮想的旧爱——殡仪馆的少东家Roy（蔡瀚亿 饰）。《种猫》天生阴阳眼的秀容（徐子珊 饰）在舅舅经营得殡葬用品店工作，烂赌成性的舅妈阿娥（吴家丽 饰）为了开运，居然把秀容一直在喂养的小猫抓来钉进棺材里。受到刺激的秀容，身心发生了变化。《尸香》在殡仪馆工作的阿茵（谢婷婷 饰）百无禁忌，某晚回家路上她捡到一部手机，之后与机主语音聊天成为好朋友。后来她答应帮机主找一样东西，按照指示辗转来到了某个屠户的工作地点……

简介：Tyler Bennett（Anthony E. Williams 饰）是一个经验丰富的社会工作者。他的职业生涯一直是在用自己的理论知识和个人情感来帮助别人。直到有一天因为一些事改变了，他现在即使到了夜晚也不能像以前那样安然入睡。在他现在的生活中，他探求着生活的意义。他开始不断的去帮助Blaine Hughes（Garland Gunn 饰）——一个15岁的男孩，他试图赢得男孩的信任，最终承诺，他将帮助男孩，让他与他的亲生父母取得联系。

简介：本片是特吕弗著名的“安托万系列”的第三部，但影迷通常忽视短片《Antoine et Colette》误将其认作第二部。　　23岁的Antoine Doinel（Jean-Pierre Léaud 让-皮埃尔•李奥）从军队逃出后，虽侥幸逃脱惩罚，却因殴打警察入狱，不良记录对 他找工作造成妨碍，他先后做过旅店守门人、私家侦探等职业。过程中，安托万联系上了昔日女友克里斯汀。两人的感情暧昧而不确定。而按客户要求混进一家鞋店盯梢风情万种的老板娘时，他又将其迷上，感情的天平开始在两个女人之间摇摆。

简介：因背负命案潜逃海外数年的全哥（顾宝明 饰）回到台湾，家中早已物是人非，妻子因病早已离开人世，儿子武怀文（孙鹏 饰）也早与妻子离异，不过给他生下了孙子武以恒（颜毓麟 饰），如今已上高中。当年叱咤风云的全哥老来得到的是妻离子散、家庭破碎。老迈的全哥已不复当年的威名，他进入了当地的养老院，以期安度落魄的晚年。就在这时，送外卖的越南华侨美娇（张诗盈 饰）进入了他的生活，他开始考虑带美娇回儿子家生活，坐享晚年三世同堂之乐。就这样，武家从此出现原先未曾出现的家庭结构，一个是把脸面看的至高无上的从未谋面的爷爷，一个离异多年、仍怀惴爱情梦的爸爸，和一个正处于青春期的孙子......

简介：A married couple raising two daughters find themselves in a mid life crisis where grief and attraction threaten their domestic nucleus

简介：斯鲁波夫是列宁建立的苏俄秘密警察“契卡”的成员。他们大肆逮捕知识分子、贵族、犹太人、神职人员以及他们的家人，只用一分钟讯问，十秒钟审判，随即枪杀。在契卡的地下室里，犯人们五人一组，全裸着面朝木门，被集体枪杀。没人记录他们的遗言，没有目击者，只有无名的尸体。日复一日，非法的审判，处决和尸体装车像流水线一样运行着。斯鲁波夫是一个冷酷无情的性变态，却也是一个深邃的思考者，他痛恨自己过去的朋友和家庭。当他试图探究革命的目的和契卡存在的意义时，他走向了崩溃。

简介：安德烈和史蒂芬是一对人人称羡的同志情侣，同为交响乐队成员的他们于公于私都形影不离，爱猫摩西则是家中第三位成员，突如其来的暴力举动却令完美人生瞬间瓦解，他们也因随之而来的猜忌和疏离渐行渐远，史蒂芬企图挽回安德烈冷漠以对的心，两个霎时被掏空的灵魂，要如何找回坚持下去的决心？　　演而优则导的克劳斯韩铎第二部编导长片，以奥地利电影向来见长的冷静犀利，表现角色暗潮汹涌的心理状态，意想不到的情节转折，以及深具象徵意味的安排，自始至终凝聚高度张力，深刻描绘爱情令人完整又捉摸不定的本质，一个人为爱牺牲的极限为何？救赎能否换来原谅？爱能令人欣喜若狂，也能叫人痛彻心扉，如同一隻猫时而与人亲近，时而不见踪影。

简介：《緣滿情人節》　　艾莉絲姬迪娜 Alexis Kendra　　脫衣舞孃　分手神傷　　精神恍惚　只剩肉體　　一生所愛被人佔有　　妒嫉心完全爆發　　究竟這是妄想　還是真實？　　除了不讓別人得到你　　要讓更多的人嚐過我　　愈墮落　真的愈快樂？　　心神恍惚的脫衣舞女郎，因被男友甩了，跌落悲痛的旋渦。百仁是維納斯的一生所愛，單是幻想他和別的女人發生關係，就讓她墮進性瘋狂的深淵，永不超生。同為編劇的艾莉絲姬迪娜，於這情色驚悚片中飾演維納斯。電影性感得讓人熱血沸騰又觸目驚心，尤如拜仁狄帕瑪　　和波蘭斯基非常風格化的作品。

简介：Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance.　　The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the story is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity).　　Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, unseen menace may remind you of that highly original BLAIR WITCH).　　As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him) hears something in the lower compartment. Despite your futile don't go down there, you jerk! pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does.　　The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point IT!' has to kill them or starve, hence they have to kill IT! or die. Nothing like those no two ways about it choices. Rent it, or check for it on cable if you wish to know the outcome.　　For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him.　　The intelligent script (see what I mean about rareity) was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's It's a Good Life) The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche UNNECESSARY!!!)　　Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying.　　This film's story is not really totally original (what is), for it is based on A.E. Van Vogt's VOYAGE OF THE SPACE BEAGLE. All ALIEN fanatics should track down an old used copy to see where the initial influence came from.　　As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.