卡罗斯在一家理发店做帮工，独立日前夕遇到了客人胡里奥，四眼相对萌生情意。小店打烊后胡里奥回来寻找卡罗斯，两人在一起度过了美好的夜晚，尽管彼此都知道，这只是一阵注定短暂的心灵颤抖。

　　Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.　　To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.　　(Howard Schumann, talkingpix.co.uk)　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.　　(Dennis Schwartz, homepages.sover.net)　　I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.　　(Dave Sindelar, scifilm.org)　　See also the remake: Death Takes A Holiday (1971)

　　Don Cesar, son of Zorro, is framed for murder while visiting Spain, and becomes the whip-wielding outlaw Don Q.

　　马洛（迪克·鲍威尔 Dick Powell 饰）是一名独来独往的私家侦探，某日，马里特（Douglas Walton 饰）找到了马洛聘他当自己的保镖，结果马洛却莫名其妙的挨了一顿打。之后，一个叫安（安妮·雪莉 Anne Shirley 饰）的女孩现身，她告诉马洛，他所遭遇的一切和她的继母格雷尔夫人及其所拥有的翡翠有着千丝万缕的关联。对翡翠深感好奇的马洛决定将这一连串的事件调查个水落石出。　　在安的协助下，马洛对事件的全貌渐渐的有了了解，而隐藏在背后的，是安的父亲（迈尔斯·曼德 Miles Mander 饰）。不仅如此，不久之前，马洛受雇寻找一个名叫维尔马的女子的下落，这名女子竟然也被牵连进了翡翠的案件之中。

　　《飞逝的狮子》(Le Lion Volatil，阿涅斯-瓦尔达，2003年/12分钟/彩色。一部喜剧短片，故事发生在瓦尔达居住的巴黎十四区，情节围绕丹菲尔—罗什露广场上的一尊狮子雕像展开，这尊狮子雕像见证了从广场经过的人们的种种活动：相遇、相识……

　　克莱尔·芙伊、詹姆斯·麦卡沃伊将主演惊悚新片[我的儿子](My Son，暂译)。该片改编自2017年法国同名影片，原版导演克里斯蒂安·卡里翁将执导这部英语版影片。麦卡沃伊将饰演一位儿子失踪了的父亲，他前往前妻(芙伊饰)居住的小镇，寻找谜团的答案。为了体现迷惑感，麦卡沃伊将不会拿到剧本，而是根据每场戏的发展即兴发挥。STXfilms拿下该片北美发行权。

　　Driving home late at night during a heavy rainstorm, Glen experiences car trouble. Near where his car gets stuck, he spots a house, knocks on the door and is greeted by an oddly friendly middle-aged man, Arthur, and his younger wife, Cyndi. The strange couple pours him a drink, and then more drinks, followed by an unexpected offer that Glen can’t refuse. Elsewhere, a young woman, Katie, is feeling emotionally weighed down by a secret romantic arrangement that feels like a textbook case of gaslighting. And at the same time, in a nondescript research facility, medical professional Julie begins questioning her role in a bizarre experiment, fearing that she’s doing more harm than good.

　　Based on the H. P. Lovecraft story of the same name, a folklorist investigates reports of unusual creatures in Vermont only to uncover more than he bargained for

　　马丁是一位难得的医学奇才，当优尼斯企业发现他的专业技术时，企图以优秀的条件说服马丁运用高超的脑部测试，逼出患有妄想症的医学研究员个侯希的方程式来。在多重的逼迫下马丁将侯希的种种妄想移植到自己的身上，但一切不可思议的情况就此展开……

　　

　　一群年轻学生选择在巴塞罗那开展“伊拉斯谟”项目。所有人都有同样的决心:尽情玩乐。西班牙学生蒙策在家里接待了这群“伊拉斯谟”成员参加国际学生晚宴，一晚的娱乐变成了数小时的恐惧和恐惧。。。

　　在一次家庭露营旅行中，一次随机的熊袭击使格雷格（父亲）和萨曼莎（女儿）被恶魔崇拜的邪教组织“圈”困住了。 众所周知，邪教组织中有一个渗透者。 她正在与外部一位名叫Grady的前成员通讯。 格雷迪的计划是带领一小批救援人员进入“圈子”的中心。 但是他们会及时赶到那里，以拯救格雷格，萨曼莎和其他被称为珀西·斯蒂芬斯的恶魔吗?

　　一个背景设定在扭转治疗营地的LGBTQIA+赋权故事

　　影片讲述离婚不久的克里斯·戴克是一个富有的风险投资家，住在蒙大拿州自己设计的高科技房子里，在身体和情感上都受到保护，不受外界干扰。当他遇到斯凯时，他的生活发生了变化，斯凯是一个美丽、神秘的年轻女子，吸引他走出自己的舒适圈。　　克里斯在一次暴力抢劫中受伤后，斯凯搬来照顾他，而她的真实目的很快就暴露了。克里斯成了一场精心策划的抢劫案的受害者，他突然成了自己家里的囚犯，得不到任何帮助，任由一个暴力的、心理不正常的杀手摆布，这个杀手打算夺走他的一切，也包括他的生命。当克里斯的前妻和孩子出现时，他们处于极大的危险之中，生存的唯一保证就是逃跑。

　　After the suicide of her only friend, Rachel has never felt more on the outside. The one person who reached out to her, Jessie, also happens to be part of the popular crowd that lives to torment outsiders like her. But Rachel has something else that separates her from the rest, a secret amazing ability to move things with her mind. Sue Snell, the only survivor of Carrie White's rampage twenty-two years ago, may hold the key to helping Rachel come to terms with her awesome, but unwanted power. But as Rachel slowly learns to trust, a terrible trap is being laid for her. And making her angry could prove to be fatal.

　　在逃离恶魔恐怖的两年后，阿尔菲（切尔西·伊斯兰）和奈良（哈迪亚·沙哈卜）试图继续他们的生活。但是阿尔菲仍然感到内和不自然的视线困扰。阿尔菲最可怕的噩梦才刚刚开始，等待她的危险正日益威胁着：如此渴望灵魂的黑暗形象开始夺去他们的生命。

　　"奸母"，杀戮，与《残酷食人族》，如出一辙，意大利超真实恐怖片经典之作。不完全是由头杀到完场，至少它有一两场"床戏"与裸女，更有"奸母"的异象，满足大部分(男性)观众的愿望。它的拍摄手法亦不算太粗烂，布景不差，丧尸的化妆尤其好。演员演出也算不俗。其实是七、八十年代意大利外销美国的B级商业电影的代表作。

　　Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

　　影片讲述令人闻风丧胆的糖人再度回来了，今次目的是要说服他那个当艺术家的女后人，跟他一样成为鼎鼎大名的人物的故事。

　　洛夫一家搬进了郊区一座神秘的古宅，这里看似寂静悠闲但随着他们一天天的居住房子却在悄然无息的变化着，更古怪的是住在这里的阿勒达斯太太，除了洛夫的太太没人见过他，洛夫一家先后遭遇离奇恐怖事件，最后都难逃古宅的魔咒，成为古宅的祭奠品，永远的留在了那里。