簡(jiǎn)介：美國(guó)海軍醫(yī)藥官員杰克富勒奉命到一艘俄羅斯?jié)撏ё魃埔庠L問(wèn)。但是當(dāng)他和他的同伴李特斯旺到潛艇之后，他們?cè)庥隽艘蝗嚎植婪肿樱麄兤髨D占領(lǐng)這艘潛艇并以核武器威脅杰克他們……究竟杰克他們能否戰(zhàn)勝恐怖分子呢？

簡(jiǎn)介：　　魔術(shù)師陳子新（陳厚）和歌女張曉萍（李菁）一次避雨，誤闖豪華大宅，曉萍被屋主以為她是失散孫女，對(duì)她甚為喜愛(ài)，可是引起富豪外甥不忿，設(shè)計(jì)害子新和曉萍。幸好，萍將計(jì)就計(jì)，把陰謀揭發(fā)……成功舉辦了歌舞團(tuán)。

簡(jiǎn)介：　　書(shū)生楊子畏被書(shū)院辭退, 回鄉(xiāng)途中, 見(jiàn)一民女被惡霸馬武強(qiáng)娶為妾, 民女投湖, 子畏奮身營(yíng)救, 惜民女已返魂無(wú)術(shù). 子畏終日只顧吟詩(shī)作對(duì), 又屢遭豪門(mén)拒親, 子畏父狠狠教訓(xùn)他一頓, 子畏憤然出走, 棲身于離家不遠(yuǎn)的破書(shū)齋. 女鬼連鎖于書(shū)齋出現(xiàn), 子畏始知彼即為當(dāng)日投湖的民女, 二人重逢, 雖人鬼殊途, 卻一見(jiàn)鐘情. 事為子畏父母發(fā)現(xiàn), 他們便請(qǐng)道士替兒子驅(qū)鬼, 道士不慎將書(shū)齋燒毀, 連瑣失蹤. 子畏決定到蘇州教書(shū), 臨行前夢(mèng)見(jiàn)連瑣, 她告訴他惡霸馬武已死, 但仍要強(qiáng)娶她為妻, 此時(shí)馬武已找上門(mén)來(lái), 與子畏和連瑣扭作一團(tuán), 最后馬被箭射中, 再死一次. 子畏到達(dá)蘇州后, 見(jiàn)一女子與連瑣極為相像, 查問(wèn)下原來(lái)當(dāng)日連瑣托夢(mèng)報(bào)仇成功后已投胎還陽(yáng). 子畏遂與連瑣從此相愛(ài)到白頭。

簡(jiǎn)介：

根據(jù)1977年夏天紐約市歷史上第一次連續(xù)殺人事件改編的動(dòng)感十足的史詩(shī)性影片，天才黑人導(dǎo)演斯派克-李的第13部作品 1977年夏天的紐約市發(fā)生了歷史上第一次連續(xù)殺人事件。小報(bào)為了增加發(fā)行量，紛紛稱(chēng)這位讓市民人心惶惶的兇手為「山姆之子」。為了盡早揪出十惡不赦的變態(tài)殺人狂，一位黑手黨的老大決定懸賞「山姆之子」。喬依與他的狐朋狗友們開(kāi)始加入緝捕兇嫌的活動(dòng)。他們把心目中所認(rèn)定住家附近的變態(tài)全列舉出來(lái)，開(kāi)使始獵殺的活動(dòng)。他們鎖定一位龐克滾小牌明星，瑞奇為對(duì)象，為終結(jié)他們恐懼的代羔羊！

簡(jiǎn)介：在清澈的小河邊，鴨爸爸正焦急地走來(lái)走去，原來(lái)他的妻子正在孵化小鴨。經(jīng)過(guò)痛苦漫長(zhǎng)的等待，毛茸茸的小鴨子相繼破殼而出?？粗】悼蓯?ài)的孩子，鴨爸爸欣喜過(guò)望，狂親自己的老婆。正在這時(shí)，最后一枚蛋也蠢蠢欲動(dòng)，結(jié)果出來(lái)的竟是一只傻乎乎的白色小鴨子。這可氣壞了鴨爸爸，他懷疑老婆不忠，于是兩口子發(fā)生爭(zhēng)吵，最終鴨爸爸絕情離去。鴨媽媽不甘示弱，決心獨(dú)自撫養(yǎng)這群孩子。她帶著寶貝兒們游泳嬉鬧，卻獨(dú)獨(dú)不喜歡那個(gè)令她失去愛(ài)人的白色小鴨子。小白鴨受盡其他小動(dòng)物的奚落，自認(rèn)為丑陋的他悲傷不已……　　本片榮獲1940年奧斯卡電影節(jié)最佳動(dòng)畫(huà)短片獎(jiǎng)。

簡(jiǎn)介：愛(ài)情，榮譽(yù)，權(quán)利，對(duì)死亡的恐懼。人們?yōu)榱烁鞣N各樣的理由活著。但當(dāng)你活者的理由是復(fù)仇時(shí)，生命中就充滿了岔路。JOSHUA 是一個(gè)很棘手的黑手黨首領(lǐng)，不幸的是，一天在一個(gè)最大的毒品商交易中被捕。當(dāng)你沒(méi)有路可逃的時(shí)候，你時(shí)候，你能去哪呢？

簡(jiǎn)介：二次世界大戰(zhàn)的冷戰(zhàn)期間，古巴危機(jī)將美蘇兩大強(qiáng)國(guó)劍拔弩張，而發(fā)生在1968年5月的一起事件則無(wú)疑將危機(jī)推向一觸即發(fā)的境地。剛剛結(jié)束漫長(zhǎng)航行并原本準(zhǔn)備退休的海軍艦長(zhǎng)迪米（艾德·哈里斯 Ed Harris 飾），被上司命令即刻做最后一次巡航，而他所需要駕駛的則是即將在退役后賣(mài)給中國(guó)的彈道導(dǎo)彈潛艇B-67。在航行期間，來(lái)自克格勃的布魯尼（大衛(wèi)·杜楚尼 David Duchovny 飾）也一同隨行，并在潛艇上測(cè)試一種全新的設(shè)備?！　〉厦自詾檫@只是退休前的紀(jì)念之旅，卻不知道布魯尼及其神秘的“幻影計(jì)劃”將潛艇官兵乃至全世界的命運(yùn)系于一線。當(dāng)他發(fā)現(xiàn)個(gè)中蹊蹺之時(shí)，似乎為時(shí)已晚……

簡(jiǎn)介：一群身在異鄉(xiāng)的海外華人用生命捍衛(wèi)著“華人團(tuán)結(jié)”這幾個(gè)字。當(dāng)他們面對(duì)親人被綁架時(shí)勇敢挺身為尊嚴(yán)而戰(zhàn)。他們不曾忘記自己是炎黃子孫而永斗武裝悍匪并成功解救被綁架人質(zhì)。本片表達(dá)了在“外”漂泊的游子想回到我們?nèi)找鎻?qiáng)大的祖國(guó)母親懷抱的迫切心情，喚起生活在和平社會(huì)的我們要珍惜當(dāng)下，熱愛(ài)祖國(guó)。

簡(jiǎn)介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.