簡介：夜深人靜，白日的束縛悄然褪去，是時候迎接真實的自己。在這里，我們?yōu)槟鷾?zhǔn)備了一場感官的極致盛宴。每一次心跳，都是對寂寞長夜最有力的回?fù)簟Ｌ剿魑粗?，體驗前所未有的私密與刺激。別再壓抑，點擊開啟屬于你的午夜狂歡。

簡介：Defying the moral constraints of Victorian England and her parents, a young woman engages in unbridled promiscuity with two partners before setting out to capture the fuller sensuality of life itself. Based on the 1915 novel by D.H. Lawrence.

簡介：明治時期，繼承了父母遺產(chǎn)的男子南田收一（柳憂憐 飾）過著衣食無憂的生活。他的妻子都子（宮地真緒 飾）美麗雍容，氣質(zhì)不凡。只是夫妻間的關(guān)系似乎并不融洽，收一對妻子如癡如醉，幾近瘋狂；都子則對丈夫心存恐懼，一心逃離。此后不久，都子戀上收一的朋友——經(jīng)營牙科診所的琴浦（大浦龍宇一 飾），繼而發(fā)生不倫之戀。有感于妻子的異常舉止，收一決心調(diào)查，卻被琴浦阻止。而琴浦卻延請明智小五郎調(diào)查都子，以障耳目。小五郎的妻子文代（星野真里 飾）自告奮勇，但在調(diào)查過程中發(fā)覺這段三角戀情正在死亡的泥潭越陷越深……　　本片根據(jù)江戶川亂步的小說《妻に失戀した男》改編。

簡介：故事講述露西天生就是一名收藏家，她與男友分手，而男友是惠特尼博物館的老板。露西不知道該把戀愛時的物品放在哪里，于是她在一家陌生酒店的大廳中策劃了心碎畫廊，在那里她找到了自己的聲音，并學(xué)會了放手去愛。

簡介：影片以重復(fù)加碎片式的感官敘事手法，講述了年邁且身患疾病的安東尼（安東尼·霍普金斯 Anthony Hopkins 飾）正在面臨一項艱難的人生選擇——是搬到養(yǎng)老院還是接受女兒尋找的新護(hù)工。在這個過程中，安東尼發(fā)現(xiàn)自己仿佛進(jìn)入了一場奇怪的時空之旅，錯亂的記憶和時間線交織出一段段匪夷所思的故事，而一個個陌生又熟悉的人也讓他陷入迷茫?！　∮捌鶕?jù)法國小說家兼劇作家佛羅萊恩·澤勒的舞臺劇《父親》改編。

簡介：月黑風(fēng)高的夜晚，戚近榮（張國榮飾）獨自行駛在路上，電臺里播放著鬼故事，這時車子突然駛離軌道，戚停下車檢查，等他再次上車后驀地發(fā)現(xiàn)后座竟多了個清純的白衣女子（鐘楚紅飾）！　　下車后，白衣女子突然主動向驚魂未定的戚近榮獻(xiàn)上熱吻，待戚帶其去舞廳后伊人卻隨即失去了蹤影。經(jīng)此一見， 戚像失了魂般心中全是佳人的影子，并在第二天回到舊地尋找。不料找到的卻是一座墳冢?！　”M管朋友們都說戚是大白天撞鬼，戚還是對白衣女子念念不忘，他在街上苦候數(shù)日，終于發(fā)現(xiàn)了她的蹤影，而此時她的身份是億萬富翁曹三（黃錦燊飾）的情人？戚決定不論人鬼，都要對女郎展開不舍不棄的追求……

簡介：A homicidal maniac is accidentally released from a hospital because of a computer error and heads to the site of his past murders to continue his penchant for mayhem. Dr. Joan Gilmore takes off after him while the hospital administrators cover up the mistake and send some staff thugs out to get...

簡介：

簡介：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

簡介：環(huán)球在40年代推出了一套低成本懸疑系列電視電影“內(nèi)部圣所之謎”。 ?這套影片根據(jù)當(dāng)時很火的懸疑電臺節(jié)目改編，由小朗·錢尼主演?！罢賳舅劳鲠t(yī)生是該系列的第1部。由于原節(jié)目時長只有30分鐘，為了改編成更長的影片，制片方增加了很多場景和人物對白將故事拓展成了1小時。另外，公司為了宣傳噱頭，當(dāng)初還以小朗·錢尼的父親朗·錢尼主演作為宣傳。　　第一部劇情簡介：妻子被毀容并殺害，自己毫無疑問成為了警方的重點懷疑對象，可是自己卻失去了兩天的記憶.. ? （拖延癥字幕沒有組）

簡介：美國著名物理學(xué)家查理，帶著妻子安妮與兒子杰克來到中國廣西旅行，在一次意外事故中，兒子掉落山谷與父母失散。杰克在森林里遇到森林守護(hù)者小健等人，他們都有一身好功夫與求生技能，于是他們帶領(lǐng)杰克走出山林回到父母身邊。

簡介：鬼馬友羅伯特·莫斯手把手教育老實伯沃爾特·馬修如何有效且安全地出軌，找外遇，說一大堆真人實例后，意欲著手實施，卻不料翻車