铁甲钢拳（普通话）

简介：马里奥是位护士，他马上就要有第一个儿子。安东尼奥·帕丁是个知名的制毒师，但由于疾病，不得不依附他的家人。家族的生意现在由他的两个孩子，东尼和奇凯掌握，他俩马上要进行一项充满风险的贩毒行动。当他们的人生相交错时，所有人都选择了共同的道路：复仇。　　这是一个关于背叛，毒品，家庭争端与暴力的故事。

简介：凯恩继续追查手提箱核弹一案，但是他感觉中央情报局内部有人似乎刻意阻止他查案，凯恩感觉时间紧迫，很快他与老友组建了一支新的特工小分队，由他一手训练，指挥。终于他们在手提箱到达幕后买家手里之前阻击了这场交易。凯恩知道真正的死亡降临了，前所未有的接近……

简介：内向少女方晓萤从小就是容易被忽视的存在，有一天她发现自己被所有人遗忘，变成了一个完全透明的eee。绝望之余，她偶然发现只有曾经有过误会的校草余之昂才能看见她。二人达成契约，余之昂帮方晓萤答应重新找回自我，两人在“双向守护”中互生好感，而方晓萤也逐渐找回自信。然而有一天，余之昂却发现自己看不见方晓萤了……

简介：Michael Schäffer is among the Westerners whose families are killed in the great tsunami while on holiday at Thailand's Phuket beach. So is Billi Cramer, who is less introvert and hence accepts a Greek international relief force therapist's advice to seek contact with a compatriot in the same position. They got on so well there may be a real relationship in the making, but the grief still weighs heavily.

简介：桐山零（神木隆之介 饰）是将棋界公认的天才，年仅17岁的他便已经成为了一名职业棋手，在棋盘上打败了无数年长与他许多的对手。实际上，零拥有着悲惨的过去，他的家人们很早之前在一场可怕的车祸中全部去世了，之后，零被父亲的好友收养。养父是一名将棋爱好者，为了让养父开心，零没日没夜的研究着棋谱，却不曾想自己不经意的举动造成了这个家庭的分崩离析。　　最终，零决定离开养父家独自生活，在他看来，只要不依靠任何人，不和任何产生关联，便不会伤害任何人。然而，善良又热情的川本三姐妹闯入了零的生活，一直讲零视为是自己的宿敌的二海堂晴信（染谷将太 饰）也令零渐渐走出了孤独。

简介：莉亚是个印第安女孩，跟父母幸福的生活在一起。由于一些有权优势的白人想在印第安保留地建工厂，因此想拿到莉亚爸爸的授权，而莉亚爸爸拒绝了他们。于是斯洛恩带领三个白人杀了莉亚的父母，并且伪造现场，出庭作证，说是莉亚杀的。最终莉亚被判终身监禁。六年后，莉亚转移到别的监狱路上出了车祸，逃跑了，回到了深爱的那片土地。莉亚辗转找到了当时杀了她父母的那些人中的戈登，杀了他。威利斯是印第安事务部主管印第安事物的官员，在看到戈登的尸体后开始追踪这个案子，在一系列的调查中，整个案情渐渐清晰。莉亚一个接一个的杀掉了那些阻止她复仇的人。最后，威利斯开枪打死了斯洛恩，所有的仇人都死了，莉亚骑着马，消失在地平线上。

简介：When a mysterious figure starts to target State Alchemists for their sins against God, Alchemist Edward Elric and his brother Alphonse are at their most vulnerable, meanwhile the homunculi begin to unveil themselves once again.

简介：讲述韩国战争残云仍存的1953年某个秋夜，南山著名诗人白斗焕被杀害。第二天，事件调查官金基采（金相庆饰）来到诗人生前经常光顾的“东方茶馆”展开调查。随着调查的深入进行，茶馆中所有人均被视为疑凶……

简介：出身传统印度家庭的印度裔美国少女珊米妲（梅根·苏丽 Megan Suri 饰），渴望融入美国自由的高中生活，拒绝接受母亲不停灌输的印度传统文化，也疏离了同样有印度血统的童年好友塔米拉（莫哈纳·克里希南 Mohana Krishnan 饰）。她发现这位曾经的好友渐趋诡异，不仅随身携带空玻璃罐，不安地振振有词碎念，还散发令人不适的腥臭味。某日，塔米拉找上珊米妲求救，但珊米妲再也受不了她的奇怪行径，一怒之下打破了她手上的玻璃罐，没想到却因此释放出古老的印度恶鬼「毕舍遮」，让身边的人们开始陷入一连串无可预期的灾难，而恶鬼也正一步步向自己逼近……

简介：当我还只是十三岁时，1941年春末的那一天，我初次见到了她那一天，墨索里尼向英法宣战，而我，得到了生命里的第一辆脚踏车。　　她，撩著波浪状黑亮的秀发，穿著最时髦的短裙和丝袜，踏著充满情欲诱惑的高跟鞋，来到了西西里岛上宁静的阳光小镇。她的一举一动都引人瞩目、勾人遐想，她的一颦一笑都教男人心醉、女人羡妒。玛莲娜，像个女神一般，征服了这个海滨的天堂乐园。　　年仅十三岁的雷纳多也不由自主地掉进了玛莲娜所掀起的漩涡之中，他不仅跟著其他年纪较大的青少年们一起骑著单车，穿梭在小镇的各个角落，搜寻著玛莲娜的诱人丰姿与万种风情，还悄悄地成为她不知情的小跟班，如影随形地跟监、窥视她的生活。她摇曳的倩影、她聆听的音乐、她贴身的衣物都成为这个被荷尔蒙淹没的少年，最真实、最美好的情欲幻想。　　然而，透过雷纳多的眼，我们也看到了玛莲娜掉进了越来越黑暗的处境之中，她变成了寡妇，而在镇民们的眼中，她也成了不折不扣的祸水，带来了淫欲、嫉妒与忿怒，而一股夹杂著情欲与激愤的风暴，开始袭卷这个连战争都未曾侵扰的小镇。　　玛莲娜一步步地沉沦，与父亲断绝了关系、被送上法院，更失去了所有的财产，这使得向来天真、不经世事的雷纳多，被迫面对这纯朴小镇中，人心的残暴无情，看著已经一无所有的玛莲娜，雷纳多竟鼓起了他所不曾有过的勇气，决定靠著他自己的力量，以一种教人难以料想的方式，来帮助玛莲娜走出生命的泥沼……

简介：A homicidal maniac is accidentally released from a hospital because of a computer error and heads to the site of his past murders to continue his penchant for mayhem. Dr. Joan Gilmore takes off after him while the hospital administrators cover up the mistake and send some staff thugs out to get...

简介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor