法国导演情侣组合斯特劳布-于伊耶与1991年将索福克勒斯的希腊悲剧《安提戈涅》搬上银幕，文本上采用了德国浪漫主义诗人荷尔德林的著名翻译，版本上则依照布莱希特40年代的改编，拍摄地点是西西里岛上塞杰斯塔的一座古罗马剧院遗址，拍摄时阳光明媚。影片背后文本的多层厚度赋予了本片以极强的现时性：就在拍摄当年的夏天，美军对伊拉克发起了第一轮进攻。这是一部关于教育公民不服从的作品。

　　玛丽（珍妮弗·琼斯 Jennifer Jones 饰）在意大利度假时邂逅了名为乔班尼（蒙哥马利·克利夫特 Montgomery Clift 饰）的男子，两人之间相互吸引，很快就走到了一起，相互陪伴度过了快乐的两天。然而，快乐的日子都是短暂的，玛丽即将离开意大利前往巴黎，乔班尼劝说玛丽留下来，留在他的身边，可是固执的玛丽却去意已决，这让乔班尼非常的愤怒，他失手打了玛丽。　　悲伤的玛丽准备搭上前往巴黎的火车，就在火车快要开动的时候，乔班尼出现了，他不顾危险穿越轨道来到玛丽的身边，他的举动感动了玛丽，两人重修旧好。虽然错过了这一班火车，但下一班火车很快就来了，留给两人的时间越来越短了。

　　

　　一名13 岁女孩的失踪案令这个执着的检察官寝食难安，试图尽一切努力查出真相。改编自真实案件。

　　本片为西班牙及阿根廷2014年上映新片。防卫森严而又宁静的街区里 惊现佩德罗 ·莎泽瑞塔的尸体。这件事很快便被传开了。死者是一名被怀疑杀害了自己妻子的商人。为了掩盖莎泽瑞塔的死亡事件，当地一家著名的报社找到了一位从前专写黑暗灵异小说的作家贝蒂布来破案。究竟杀害莎泽瑞塔的到底是谁？他的死与他的妻子有关么？2010年戈雅奖 最佳新进演员得主Alberto Ammann主演，奥斯卡最佳外语片《他们眼中的秘密》制作人共同制作。

　　With ruthless US and Japanese investment banks circling Tuftons, a struggling two-hundred-year-old, family-run British bank, can its bumbling, incompetent chairman, Sir Charles Bunbury, fend off the onslaught and save the bank?

　　無論颶風與米卡相隔多遠，他們的心永遠緊緊相連。這回，有位特別的女孩走進他們的生命，展開新的冒險。米卡的朋友芬妮在社工實習時，遇到了不受控制的亞希。為了幫助亞希並避免她被囚禁在兒童之家，芬妮帶她前往凱登巴赫，進行特別的「馬術治療」。康先生發現亞希易衝動的個性裡，隱藏著蒙古古老傳說中的戰士特質，既勇敢又充滿力量。亞希一見到颶風就被牠吸引，而她似乎也對牠產生特別的影響。颶風和米卡能否找到新的靈魂知己呢？

　　操着一口伦敦腔的塞浦路斯移民，安迪（Marios Ioannou 饰），在伦敦的一家炸薯条店辛勤工作了大半辈子。为了圆他母亲落叶归根的梦想，安迪决定回到故乡塞浦路斯。在故乡，安迪开了一家炸薯条店。然而，在他的女儿卷入了一个不良团伙后，他的梦想变成了梦魇。《鱼和薯条》获得了众多奖项，囊获希腊电影学院颁发的“导演最佳处女作”和“最佳希腊语电影”的题名奖，塞浦路斯电影节的“环球影像” 、“最佳男主角”和“最受观众欢迎”奖以及科林蒂安的“最佳剧本奖”。

　　庞贝大道玉辇过，金鞭络绎向帝国，火山宫殿烧焚尽，驱舟赶逃繁华落

　　索罗外表和人一样，但他却是个耗资200万美金的机器战士，一件会自己做决定的武器。 军方将它送到南美洲镇压无辜村民，不料索罗竟然同情村民，临阵倒戈。军方派精锐部队进村，要回收这件“故障武器”……

　　美国中央情报局的特种兵炸弹专家雷（西尔维斯特•史泰龙 Sylvester Stallone 饰）因为过失引咎辞职，辞职后的他靠当职业杀手为生。这天他接到了神秘女子美（莎朗•斯通 Sharon Stone 饰）的生意，美要他杀死当地的黑社会头子。其实美就是那个黑社会头子的情妇，因他早前曾杀害了美的父母，所以美不惜一切要报父母之仇。美甚至以身体作为引诱，雷接下了这单生意，两人也暗暗互生情愫。　　雷在准备行动中，发现了黑社会头子的贴身保镖就是自己当年在特种兵部队里的死对头立特，旧恨新仇交织在一起，于是一场生死大战在两个前特种兵之间展开了！

　　Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another.　　The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!

　　讲述商人吉姆面临经济危机，幸好去世的祖父留下巨额财产给他，但条件是他必须在27岁生日晚上七点前结婚，结果引来全城妇女的求婚，当然，最后还是有情人终成眷属。

　　美国曾经有“家族世仇”的传统，马凯和康菲尔就是两个世代仇杀不止的家族，1810年，约翰·马凯与詹姆斯·康菲尔在雨夜中交火，双双身亡。约翰的遗孀为了让儿子摆脱世仇，带幼子远赴纽约生活，而詹姆斯的父亲则发誓将两个孙子养大以后报仇。　　二十年后，威利·马凯（巴斯特·基顿 Buster Keaton 饰）长大成人，他要赶回老家继承父亲的遗产，在经历了一场缓慢又状况百出的火车旅行之后，威利与同行的姑娘维吉妮亚结为朋友。到达目的地的威利拜访维吉妮亚家，而这位姑娘居然是康菲尔一家的小女儿，维吉妮亚的两个哥哥在知晓威利身份以后要加害他，但是“待客之道”的传统让他们不能在家中下手，于是威利赖在康菲尔家中以求自保……

　　该片被公认为英国电影的巅峰佳作之一，在英国电影学院评出的100部最佳英国电影中名列第36。片中汇集了大批当年英国影坛的红人。大盗查理(迈克尔·凯恩)刚出狱就急不及待要大乾一票，准备截劫从中国运到意大利的四百万美元黄金。查理在一名黑道头目资助下，展开了一个天衣无缝的盗金计划，出动了三架库珀豪华车、一队积架车及公车来堵塞交通。片中一幕宝马库珀豪华车(MINI Cooper)在好莱坞名人大道上疯狂地追逐，穿过地铁隧道入口，沿着只有迷你汽车才能行驶的狭窄小路狂奔，被认为是影史上经典飙车追逐场面，让观众体验到前所未有的紧张刺激......

　　和许多处于青春期的少女一样，罗拉（克丽丝塔·特瑞特 Christa Theret 饰）觉得自己的生活纠结成了一团乱麻。不仅仅是男友亚瑟（菲利克斯·穆阿提 Félix Moati 饰）的三心二意让她十分愤怒，她和母亲安娜（苏菲·玛索 Sophie Marceau 饰）之间的问题也似乎永远都得不到解决。然而，对于安娜来说，独自抚养一个个性叛逆而倔强的女儿究竟有多么辛苦只有她自己心里清楚，同时，在渐渐变得冷漠而陌生的女儿面前，安娜又何尝不是一个初出茅庐的“初学者”呢。　　好在事情的进展渐渐有了转机，在一连串的误解和矛盾中，母女二人之间的坚冰也在慢慢的溶解，当安娜和罗拉各自站在对方的角度来看待她们之间所发生的一切时，整个世界发生了翻天覆地的变化。

aaaBillMillerisanunsuccessfulBroadwayperformeruntilhishandlersconvincehimtoenhancehisactwithastooge-TedRogers,aguypositionedintheaudiencetobethebuttofBill'sjokes.ButTedbeginstostealtheshow.Bill'sgirlfriendandhispalstellhimtomakeTedanequalpartner.Complicationsoccur,whileBillsingsandTedgetsthelaughs.

　　奥古斯特带领的三个骗子化装成传教士到处行骗，屡屡得手。一次他在街头偶遇自己天真烂漫的女儿，心里不禁有所顿悟，但却被人当场认出是骗子，并在女儿面前给人逮送到警局。出狱后的奥古斯特重操旧业，但在为筹集女儿学费的一次行骗中，他想独吞财物而被同伙痛殴，最终死在山崖边。

　　Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey.　　In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.

　　在第一次圣餐庆祝活动结束后，一个被监管的自由骗子在他的小女儿死于车祸后开始了血腥的复仇之路。