簡介：夜深人靜，白日的束縛悄然褪去，是時候迎接真實的自己。在這里，我們?yōu)槟鷾蕚淞艘粓龈泄俚臉O致盛宴。每一次心跳，都是對寂寞長夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點擊開啟屬于你的午夜狂歡。

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三名被囚禁在外層空間的克利頓星球大壞蛋逃了出來，來到地球上的一個小鎮(zhèn)揚威肆虐。當時超人正與女友在冰宮卿卿我我，并且已經(jīng)喪失了超人的全部本領(lǐng)而變成了平凡人。在這種不利的情況下，美國總統(tǒng)不得不向這三個大壞蛋求饒。后來超人振作起來，與三個壞蛋展開了殊死搏斗，最終戰(zhàn)勝了三個大壞蛋。本片在特技效果上維持水準之外，導演理查德．萊斯特在這部續(xù)集加強了超人的人性描寫，喜劇效果也較強，部分情節(jié)頗具諷刺效果。

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轟動世界的第一英雄——超人，重返地球，接受大敵挑戰(zhàn)，對手是壞蛋雷克斯，他針對超人的弱點，用氪元素制造邪惡的核能人，利用最先進的科學武器，面對勢均力敵的對手，超人與其展開太空大對決……本片無論從情節(jié)上還是特技上，都是超人系列的最失敗的作品。情節(jié)簡單幼稚，特技粗糙。本集上映后，批評如潮，這也結(jié)束了里夫的超人生涯……

簡介：淹沒在小城市里的馬陸與馬鋒是一對互相抗拒又彼此相愛的父子。一場即將到來的足球決賽讓他們攜手反思各自的內(nèi)心和人生。

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大白鯊襲擊了一艘捕魚船，在船體上撞出了一個洞。由于距離海岸線幾英里遠，船上的人們被迫為生存而戰(zhàn)，否則他們就會被淹死或者被生吞活剝。

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動畫《斗羅大陸》劇場版正在籌備中，巔峰之戰(zhàn)即將到來，屬于唐三的終極之戰(zhàn)你們都期待了嗎？海神歸位對決雙神，一起靜待吧！

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馬尼拉爆發(fā)了一場毒品暴力戰(zhàn)爭，一個臭名昭著的治安敢死隊招募了一個名為托托的孤兒。很快，孤兒托托與該組織的女頭領(lǐng)伊瑪爾之間形成了情同母子的親密關(guān)系。除開敢死隊的特殊身份，伊瑪爾平時還是一個除害蟲者。然而，當他們的死亡名單中出現(xiàn)了一個熟悉的面孔后，伊爾瑪和托托的忠誠關(guān)系卻受到了考驗。

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改編自「老董的家」遊民詐保案

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唐僧（羅家英 飾）、孫悟空（陳浩民 飾）、朱八戒（林子聰 飾）、沙僧（火星 飾）師徒四人行至盤絲山，偶遇被捕獸夾夾傷的蜘蛛精小七（云千千 飾）并將其送至家中。孫悟空火眼金睛，見小七的母親及眾仆人是妖精所變遂下手除妖，但唐僧誤以為悟空濫殺無辜，師徒二人就此決裂。沒有孫悟空保護的唐僧和悟凈被眾蜘蛛精抓至盤絲洞，幸得本性善良的蜘蛛精小七所救，不料危后突然出現(xiàn)，大戰(zhàn)一觸即發(fā)。危急時刻孫悟空趕來加入戰(zhàn)斗，眾人合力壓制住了危后。師徒四人堅定不移地繼續(xù)踏上取經(jīng)之路……

簡介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

簡介：影片主角是艾薇的妹妹凡歐莉（潔米普萊絲莉 飾），心懷不軌的她，前去拜訪好朋友喬絲的家，為了報復11年前的一次背叛，凡歐莉開始利用美色與手段，有計劃的誘惑喬絲的父親與男朋友……不久后，喬絲整個家都陷入了恐慌與騙局之中，凡歐莉的復仇計劃，釀成了致命的后果！

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1930 年代，殖民統(tǒng)治之下的哈薩克斯坦發(fā)生人為大饑荒，掘墓人伊薩泰每天把新的男女老少的尸體帶到萬人坑——一個巨大的、裂開的地洞。村長希望從薩爾坎德那里得到一些食物，派伊薩泰去傳達信息。為了保護自己的弟弟，他決定帶弟弟一起上路。無盡的草原變成了一場循環(huán)往復的噩夢，荒蕪的空間和無盡的饑餓，逐漸主導伊薩泰的思想。這既是一次身體之旅，也是一次精神冒險，伊薩泰開始產(chǎn)生幻覺，他遇到了民間傳說里的人物，面臨艱難的選擇，他的選擇，可能會決定整個村莊的命運。