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)擊開啟屬于你的午夜狂歡。

簡(jiǎn)介：9歲的男孩薩邁與家人一起住在印度的一個(gè)偏遠(yuǎn)村莊。在第一次看電影時(shí)，他就完全被吸引住了。薩邁不顧父親的反對(duì)，日復(fù)一日地回到電影院看電影。他甚至還和放映員交上了朋友，他用盒飯來交換免費(fèi)看電影的機(jī)會(huì)。很快，他就發(fā)現(xiàn)，在光影變幻中，故事變成了電影，并最終成就了他的夢(mèng)想。為了拍攝35毫米的膠片電影，薩邁和他那幫瘋狂的朋友竭盡全力地捕捉光影。他們用創(chuàng)新的方案成功制作出了一臺(tái)電影放映設(shè)備。但在追逐夢(mèng)想的過程中，他們也不得不放棄一些東西。

簡(jiǎn)介：車泊-殺人與浪漫之夜

簡(jiǎn)介：妹子獨(dú)自在荒無人煙之地趕路，車子拋錨，幸好得到一個(gè)熱情的男子相助，并決定載他一程，誰(shuí)知對(duì)方是個(gè)人面獸心的變態(tài)魔頭。

簡(jiǎn)介：

麥克斯和艾比是一對(duì)幸福的夫妻。一場(chǎng)意外奪走了麥克斯。當(dāng)艾比無比痛苦時(shí)，奇怪的事情發(fā)生了，麥克斯的鬼魂回來幫助她擺脫自己。但有了第二次機(jī)會(huì)在一起，兩人都不想再說再見…

簡(jiǎn)介：

第二集中，尼奧（基努·里維斯 Keanu Reeves 飾）沒有能從內(nèi)部摧毀“母體”，他的身體在真實(shí)世界的飛船上陷于昏迷，思想?yún)s被困在介于“母體”和真實(shí)世界的中間地帶，這個(gè)地方由“火車人”控制。墨菲斯（勞倫斯·菲什伯恩 Laurence Fishburne 飾）和崔妮蒂（凱瑞-安·莫斯 Carrie-Anne Moss 飾）等人知道了尼奧的情況，在守護(hù)天使的帶領(lǐng)下， 找到了“火車人”的控制者梅羅紋奇，經(jīng)過一番激斗，將尼奧救了出來。 　　此時(shí)，電子烏賊部隊(duì)對(duì)錫安發(fā)起了猛烈的攻擊，人類組織所有機(jī)甲戰(zhàn)士展開頑強(qiáng)的抵抗，形勢(shì)危在旦夕；尼奧和崔妮蒂駕駛了一艘飛船克服重重困難，到達(dá)機(jī)器城市，尼奧終于見到了機(jī)器世界的統(tǒng)治者“機(jī)器大帝”，雙方談判并達(dá)成了協(xié)議：尼奧除掉不受“母體”控制的史密斯，以換取錫安的和平。 　　在“母體”中，尼奧和史密斯展開了關(guān)系人類生死存亡的最后決斗...

簡(jiǎn)介：

勞拉·祖尼加是一個(gè)墨西哥的女模特，年輕的她正在積極準(zhǔn)備選美比賽，因?yàn)檫@是她改變自己生活和命運(yùn)的機(jī)會(huì)?？墒窃跍?zhǔn)備比賽的過程中，墨西哥的黑幫和毒販子卻“不請(qǐng)自到”。要挾她為黑幫服務(wù)。

簡(jiǎn)介：

在離開了弗羅里達(dá)之后，貝絲（麗貝卡·豪爾 Rebecca Hall 飾）來到了諸多淘金者心目中的圣地拉斯維加斯，在那里，她找到了一份酒吧女招待的工作。雖然生活和設(shè)想中的大相徑庭，但貝絲并沒有太多的精力去思考和抱怨，每一天，能夠吃飽，有地方住就已經(jīng)是最大的奢侈了。

簡(jiǎn)介：Siskel and Ebert once ran a special show entitled Movies I'm Embarrassed to Admit I Liked. I suppose that if I composed such a list of guilty pleasures, this one would be one of them . . . but upon reflection, it's really a lot better than that. Fifteen year-old science prodigy Mitch (Gabe Jarret) is recruited by ambitious college professor William Atherton (in yet another of his patented roles as a loathsome character) to work on the professor's prize laser project, not knowing that the prof is really developing a government weapon. Along the way, Mitch is befriended by Chris (Val Kilmer), another prodigy a few years his senior who teaches the Mitch how to loosen up.　　This could have degenerated into nothing more than just another teen revenge comedy, but there's so much more the dialogue is laced with sharp wit; there are some lovely scenes that have nothing to do with the story yet are carefully set up, almost as blackouts (e.g., Mitch goes to a lecture at which a few students have left tape recorders instead of attending; later, at another lecture there are more tape recorders than students; and, in a final scene, one large tape recorder gives the lecture to a room populated by nothing but other small recorders!); and throw-away scenes that make you want to stop and back up the tape (e.g., Chris off-handedly cutting a slice off a bar of solid nitrogen to make a slug for the coffee machine).　　It's also one of the few movies to boast the presence of the memorable Michelle Meyerink -- as Jordan, the girl-nerd who made being smart and female something to be emulated. And there's Tears for Fears great song, Everybody Wants to Rule the World providing the perfect coda as the closing credits begin to roll . . . . Yes really now, what's there to be embarrassed about

簡(jiǎn)介：

　　為了贏得“最丑女孩大賽”的獎(jiǎng)金，士兵艾迪（瑞弗·菲尼克斯 River Phoenix 飾）找來了偶然在餐廳結(jié)識(shí)的服務(wù)員羅絲（莉莉·泰勒 Lili Taylor 飾），對(duì)于自己即將要經(jīng)歷的遭遇，羅絲一無所知。最終，艾迪不僅沒能夠拿到獎(jiǎng)金，羅絲也因?yàn)楸娙说某靶团艛D而憤然離去。良心備受譴責(zé)的艾迪找到了羅絲，一番道歉后兩人重歸于好。在言談之中，艾迪和羅絲都驚訝的發(fā)現(xiàn)他們的身上存在著諸多的共同點(diǎn)，隨著時(shí)間的推移，兩人之間的關(guān)系越來越親密。艾迪即將上戰(zhàn)場(chǎng)了，他和羅絲約定，待他歸來之時(shí)，兩人再度相會(huì)。沒想到，艾迪這一走就是四年。四年后，依然念想著羅絲的艾迪回到了他們相遇的那間餐廳，但一切早已物是人非。

簡(jiǎn)介：　　《權(quán)力的游戲》的前傳電視電影，故事由攸倫·葛雷喬伊、詹姆·蘭尼斯特、培提爾·貝里席、珊莎·史塔克、韋賽利昂·坦格利安以及瓦里斯講述，描繪了坦格利安家族從逃離瓦雷利亞到伊耿征服維斯特洛七大王國(guó)直到最終“瘋王”伊里斯被勞勃·拜拉席恩擊敗的曲折歷史。

簡(jiǎn)介：

　　Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.