簡(jiǎn)介：夜深人靜，白日的束縛悄然褪去，是時(shí)候迎接真實(shí)的自己。在這里，我們?yōu)槟鷾?zhǔn)備了一場(chǎng)感官的極致盛宴。每一次心跳，都是對(duì)寂寞長(zhǎng)夜最有力的回?fù)?。探索未知，體驗(yàn)前所未有的私密與刺激。別再壓抑，點(diǎn)擊開(kāi)啟屬于你的午夜狂歡。

簡(jiǎn)介：

Adam, a cocky MMA fighter, wins a fight using dirty tactics and then when challenged outside the Cage, unintentionally injures his opponent, Johan, in a street fight. As a result, Johan is paralysed. Guilt ridden and worried, Adam tries to find out whether Johan knows that he is the culprit, but then inadvertently gets drawn into Johan's life when he finds out that his actions ...

簡(jiǎn)介：安妮·海瑟薇商談參演[他最后想要的東西](The Last Thing He Wanted，暫譯)。該片根據(jù)瓊·迪迪恩1996年同名小說(shuō)改編，迪·里斯([泥土之界])執(zhí)導(dǎo)。影片故事講述一位名叫埃琳娜?麥克馬宏的記者放棄對(duì)1984年總統(tǒng)競(jìng)選活動(dòng)的報(bào)道，而為了實(shí)現(xiàn)父親的意愿，她決定報(bào)道伊朗毒品交易的新聞。本片已進(jìn)入前期制作

簡(jiǎn)介：

When the sheltered and unsocialized Oliver is tasked with making new friends after the sudden and devastating death of his mother, he decides that digging a few up (literally) might be his best bet.

簡(jiǎn)介：　　一心想要進(jìn)入NBA打籃球的少年成長(zhǎng)故事。在父母莫大的壓力下，進(jìn)入有全額獎(jiǎng)學(xué)金的菁英大學(xué)是唯一的出路，而他則必須在新女友、新學(xué)校、球場(chǎng)上的競(jìng)爭(zhēng)對(duì)手以及喘不過(guò)氣的期望中找到自己的出路。

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眾所周知，沒(méi)有安東尼·杰斯尼克駕馭不了的話題，他的第二部 Netflix 原創(chuàng)喜劇特輯也沒(méi)有讓人失望。《杰斯尼克：產(chǎn)房一把火》將于 4 月 30 日星期二面向全球上線。繼他的 2015 年特輯《杰斯尼克：我思我禱》之后，這位喜劇人繼續(xù)率性探討社會(huì)禁忌，并將自己的批判和犀利風(fēng)格貫穿其中。

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杰里·宋飛時(shí)長(zhǎng)一小時(shí)的全新特輯《杰里·宋飛：23小時(shí)找樂(lè)子》鞏固了他單口喜劇界巧匠的聲譽(yù)。該特輯于2020年5月5日在 Netflix 獨(dú)家上映，記錄了宋飛在紐約燈塔劇院的一場(chǎng)壯觀演出，并展示了他對(duì)日常生活的敏銳觀察，揭示了平日里的喜劇元素。

簡(jiǎn)介：《木偶》講述了一個(gè)治療師的故事，當(dāng)一個(gè)十歲的男孩聲稱(chēng)他可以控制她的未來(lái)時(shí)，她失去了對(duì)現(xiàn)實(shí)的把握。

簡(jiǎn)介：Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007　　Author TimothyFarrell from Worcester, MA　　Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.　　The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610)　　-from imdb

簡(jiǎn)介：二十年來(lái)，般奴和馬力克生活在一個(gè)不同的世界當(dāng)中，那是一個(gè)屬于患自閉癥的兒童和青少年的世界。他們二人分別管理The Hatch The Shelter兩個(gè)非牟利機(jī)構(gòu)，目標(biāo)在貧困地區(qū)培訓(xùn)年青人擔(dān)任守護(hù)工作，負(fù)責(zé)照顧一些被其他機(jī)構(gòu)拒于門(mén)外的重度患者個(gè)案。這非傳統(tǒng)的合作關(guān)系展現(xiàn)了非一般的人生。

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事業(yè)有成的青年女企業(yè)家芊芊在出差途中私人飛機(jī)遭遇氣流，飛機(jī)發(fā)生了事故掉入海中，她醒來(lái)后成了古代的妙善公主。在這里以石妖為首的妖魔肆意作惡，芊芊救下了韋將軍，并與韋將軍、妙善的未婚夫青冥、神箭手烏尤和祭司玄幻組成了除妖團(tuán)隊(duì)，前往無(wú)稽山尋找傳說(shuō)中克制石妖的法器枯木法杖。青冥看不慣韋將軍對(duì)芊芊熱情，兩人時(shí)時(shí)針?shù)h相對(duì)，在芊芊的費(fèi)力安撫兩人才摒棄前嫌。眾人在磨難中成長(zhǎng)，團(tuán)隊(duì)的凝聚也逐漸加強(qiáng)，歷盡千辛萬(wàn)苦后，最終拿到了法器。石妖得知后，設(shè)計(jì)殺害烏尤和玄幻，毀了法器。芊芊在悲痛中感悟到博愛(ài)眾生不是殺妖除惡，而是以佛心收伏其心魔。芊芊直面石妖，犧牲自我解除了石妖心魔。芊芊也回到了現(xiàn)實(shí)，對(duì)生活也有了新感悟。

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影片最初的場(chǎng)景中，故事里的人物進(jìn)入一個(gè)孩童的夢(mèng)，試圖通過(guò)尋找夢(mèng)境中陌生且熟悉的記憶影像，回到童年。 　　影片以導(dǎo)演私人化的記憶出發(fā)，靜態(tài)影像來(lái)自導(dǎo)演回到童年生活的村莊拍攝的圖像和舊時(shí)膠片，透過(guò)夢(mèng)境中記憶與當(dāng)下互相滲透，從而探索“人”在心理層面如何處理創(chuàng)傷。