爱情色香味

简介：白玲珑是一个有着侠义心肠，爱打抱不平的白狐。民间有一陈公子，仗着自己的家室富裕，经常欺压良家百姓。白玲珑盯上了陈公子，打算为民除害。这一天，陈公子在郊外与一女子幽会。这时，白玲珑从远处跳下，提剑欲刺陈公子。陈公子慌忙中逃窜，在途中一凉亭下，陈公子眼前突然出现一妙龄女子。女子约陈公子去她家避险，陈公子没有多想跟了上去。女子带着陈公子进入了一个山洞内。白玲珑寻着踪迹来到了山洞，原来这妙龄女子是一女妖，名叫珠儿。白玲珑与珠儿因此打了起来...

简介：帕特女士从为人父母、热爱宠物、嘴唇歪风等话题的荒诞中寻找笑点，幽默而坦荡地为大家带来自己不堪回首的往事。

简介：原本只要好玩就好的棒球王朝，却差点被迪斯可灾难给毁了。本纪录片带你一探麦克·维克的历史性回归。

简介：父母离异，20岁的大男孩岛森树（袴田吉彦 饰）独自来到东京某大学求学。他相貌清秀，性格温和，学习优秀，然迫于生计不得不在一家名为皮诺的同性恋俱乐部打工。树的相貌与气质为他赢得不少的顾客，也引来同俱乐部的男孩宫岛信一郎（遠藤雅 饰）的注意。信还只是一个读高中的男孩，他经常受到俱乐部老板那丑陋猥琐的男友的骚扰，幸亏树为其一次次解围。信从心底深深爱恋上了树，而对方只因生计才做了这一行，骨子里却并非一个同性恋，这令信万分痛苦。

简介：克桑德（范•迪塞尔 Vin Diesel 饰）是极限运动界的明星，但他离经叛道，总是以他的身手对社会上那些败类名流发出挑战，当地警方对他也经常无可奈何。特工头子奥古斯塔斯看上了克桑德，于是派人将他抓了回来，说服他前往捷克进行一项危险而艰巨的任务。捷克的地下犯罪组织头子尤里（马尔顿•索克斯 Marton Csokas 饰）正在进行一项疯狂的计划，他抓走了很多前苏联的科学家，利用他们研究一种威力无比的武器——毒气弹。他企图利用即将研制成功的武器引起世界大战，进而达到他统治世界的目的。克桑德以走私汽车贩子的身份前往捷克接近了尤里的组织，一场惊心动魄的行动展开了！

简介：Sam, receives a call from Emily a nearly blind woman who is running from her murderous ex in the woods. She must survive the ordeal with Sam being her eyes using video call.

简介：A stately home robbery takes an evil turn one night when a gang of young thieves are caught by the owners of the house and then hunted across the estate for the proprietor's entertainment

简介：讲述70年代大马足球队通过重重难关，建立坚忍不拔的斗志和团结精神，在足坛史上写下光辉一页。由真实故事所启发，电影叙述一个多元文化的足球队，如何克服个人艰苦、团队矛盾、热情骤失的考验，并在一次又一次的磨难中，锻炼出过人的毅力和培养出团队默契。这部由周青元执导的原创大马电影，是一篇撼动人心的励志故事，也是一部献给所有大马子民的电影。

简介：本剧讲述了片濑雨音生活的世界，尖锐吵闹，过剩耀眼。与过度敏感共存的雨音入学的东高中，有强制参加社团活动的校规。对于听觉、视觉、味觉特别敏感，连午休时间都很难在教室度过的雨音来说，社团活动难度非常高。于是，她决定和同样不想参加社团活动的同级生·进藤琥太郎一起，为遵守校规又想休息人生的人设立同好会——“kekeke同好会”。

简介：During the cold and rainy off-season a man arrives in a seaside town and, giving his name only as Pierre, checks into the only hotel which remains open. His arrival arouses curiosity and a degree of suspicion, as people note that he appears to know the area, yet gives no explanation for his presence at that bleak time of year in the dead-end town.

简介：A deserted pond. Two lonely children fall under the spell of this wild place that, little by little, draws them closer to each other and gives them the strength to cope with life. Seen through their eyes, and through their imaginations, the pond becomes a secret kingdom, both marvellous and frightening, thronging with creatures born from dreams or nightmares. The children experience an initiation, brief and intense, from which they will emerge transformed.

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