毒妃美又飒

故事围绕一个圣诞节蛋糕展开，讲述了战争年代天主教女子学院里人性的纯真、贪婪和幻想。“pupil”一词来源于拉丁语“pupilla”，即小女孩。

龙卷风的暴戾和神秘吸引了大批科学家的深入研究，深入风暴中间是最危险的行为，但亦是探索龙卷风最有效的方法。乔（海伦·亨特 Helen Hunt饰）和离婚的丈夫比尔（比尔·帕克斯顿 Bill Paxton饰）就是这类“与龙共舞”的科学家，即使他们感情已经破裂，比尔也已找到新的恋人，但出于对龙卷风研究的痴迷，他们还是决定共同追逐一场俄克拉何马州的飓风，并把新研制成功的探测仪“多萝西”放到龙卷风中心收集数据。 　　他们驾驶着破旧的货车，带领着追风队，向最危险的地方进发。同时，另一队装备精良的人马也朝着这个方向驶去，由裘纳（加利·艾尔维斯 Cary Elwes饰）领队，在追风行动中和乔激励较劲。 　　一边是志同道合的乔，一边是畏惧惊险生活的新女友，比尔在追风过程中如何重新抉择自己的感情道路？更重要的是，面对实力雄厚的对手，和随时葬身其中的龙卷风，乔和比尔如何实现自己的追风梦想？

球迷崇拜明星球员的情况十分普遍，但走火入魔之后却容易失控。本片男主角吉尔雷纳是个刀具推销员，他一向将黑人棒球选手巴比·雷朋作为偶像。当巴比的运动事业攀上高峰，吉尔自己却走进人生的底端，既离婚又失业。于是他把自己生存的目的完全投注在巴比身上，为了维护巴比的巨星地位而不惜恐吓、杀人，甚至绑架巴比的儿子威胁他一定要击出全垒打，引起球场上的惊人大bd。 　　幕后制作 　　影片用戏剧化手法刻画球迷的变态心理，效果犹为触目惊心。不过他对映象的刻意经营稍嫌虚浮，使得冲击力仍未全面发挥。1981年有一部同名影片，讲一个变态影迷疯狂追逐百老汇明星的故事，由劳伦·白考主演。

巴什克维尔庄园一带，正流传着一个骇人听闻的传说：在庄园周遭那片恐怖的巨大的沼泽里，有一头身形硕大的怪兽出没，它犬牙如刀、嘴能喷火、眼能冒火、皮毛闪烁发光，每当夜色降临，浓雾弥漫，便奔腾而至，杀人于瞬间…

吉兹和奥夫是一对颇让人羡慕的情侣。不过奥夫身材高大，容貌虽佳，却是个彻头彻尾的花花公子。他与女孩英在电影院约会，结果正被吉兹看在眼里。事后奥夫向女友赌咒发誓，说对英绝对没有感情，致令听到这一话语的英伤心欲绝，万念俱灰，最终从摩天大厦的顶层跳下，一命归西。 　　奥夫的赌咒并未赢回吉兹的心，在闺蜜的帮助下，吉兹开始进军演艺界，前途似乎颇为美好。然而不知从那一刻起，她总能感到周围逡巡着一个肉眼无法察觉到的“人”。她闲适的心情渐渐为恐慌所替代，一切朝着不可预测的方向发展……

故事发生在一间巨大阴森的庄园之中，鲍迪先生（Lee Ving 饰）是庄园的主人，他邀请了六位客人来到他的庄园做客，他们是普朗姆教授（克里斯托弗·洛伊德 Christopher Lloyd 饰）、格林先生（迈克尔·麦基恩 Michael McKean 饰）、皮考克太太（艾琳·布伦南 Eileen Brennan 饰）、怀特夫人（玛德莲·卡恩 Madeline Kahn 饰）和马斯塔德上校（马丁·穆尔 Martin Mull 饰）。                                    

结束一段伤心恋情，尤莉在老友的葬礼上，相识了两位为情所困的朋友－帕琪对老公的冷感和日常家事感到疲惫；茱莉亚新婚在即却对未来感到犹豫。茱莉亚的阿姨玛丽提议，大家一起来婚前单身趴狂欢整週末，暂时逃离恼人生活。但是让人又爱又恨的另一半会这麽简单放过她们吗？

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.

讲述在午夜零时访问“地狱通信”，填写无法平息的怨恨的话，地狱少女将会出现将你所怨恨之人打入地狱的深渊。观众将跟随地狱少女阎魔爱看尽人间百态。

纪念摄影师布罗克·布伦纳哈塞特以其在维多利亚时代的爱尔兰为已故者拍摄照片的技巧而闻名。 　　当一系列谋杀威胁玷污布洛克的声誉时，一名侦探把他拖进了对都柏林犯罪集团的调查。

为了逃避警察的追捕，多米尼克离开洛杉矶一直流亡于多米尼加共和国而一车价值140万美金的石油装载车让蛰伏多年的多米尼克再次驾车驰骋起来。而这时，却传来红颜知己莉迪惨死的消息。为了查明真相，满腔怒火的多米尼克再次孤身赶回美国。原来，莉迪是为了获得赦免多米尼克的机会，而协助警局抓捕大毒枭坎波斯。不过出于习惯，坎波斯将运送毒品后的莉迪杀人灭口。这样，一边是为女友报仇的多米尼克，一边是历练多年的警探布莱恩，两人再次携手，目标直指大毒枭巴尔加。一场急速复仇就此展开......

在上一年的全国大赛中取胜的主人公·小野田坂道所属的总北高中。组建队伍的前辈们纷纷毕业、引退，作为新世代的队伍开始进发的他们，在互相刺激、支持、提升的过程中，顺利打入以连霸为目标的全国大赛。之后，决战之时到来。以夺回王座为目标的对手箱根学园、拥有怪物选手御堂筋的京都伏见以及全国的强豪们齐聚一堂，以优胜为目标展开激烈交锋！所有选手各自心怀的想法。身为直线奔驰的竞速选手，身为征服山路的攀登者，以及身为将队伍导向胜利的王牌……通向各自荣誉的终点线——“GLORY LINE”，最先通过的人究竟会是谁——？

遭受打击对生活失去信心的中年男子张大宝（张维伊 饰），意外回到年轻时的1995年，遇到了22岁的自己，在经历了一系列碰撞之后，两人决定携手弥补旧日遗憾，重塑全新人生。

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