鲸

简介：故事发生在六十年代的塔尔萨城，在这里，学生们分为南北两个帮派，南帮的都是一些含着金汤匙出生的富家子弟，而北帮则充斥着出身贫民窟的名不见经传的穷小子们，南北两帮向来势不两立水火不容，常常发生激烈的矛盾和冲突，是当地巨大的不安定因素之一。　　波尼博伊（C·托马斯·豪威尔 C. Thomas Howell 饰）、约翰尼（拉尔夫·马奇奥 Ralph Macchio 饰）和达拉斯（马特·狄龙 Matt Dillon 饰）是北帮成员，彼此之间友谊十分坚实。在一场恶斗之中，约翰尼失手将南帮成员鲍勃（雷夫·加勒特 Leif Garrett 饰）杀死，在达拉斯的帮助下，波尼博伊和约翰尼藏身在一座教堂之中，这里成为了两个男孩子暂时躲避外界残酷纷争的世外桃源。

简介：经营西点咖啡店的青年亮介（松坂桃李 饰）即将和心爱的女孩千绘（清野菜名 饰）结为夫妇，可就在风光得意之时，千绘突然失踪，父亲洋介则罹患胰脏癌，去日无多。在帮助整理杂物时，亮介偶然翻出几本旧的笔记本，封面题写着“百合心（摇曳的心）”。笔记本中用铅笔写满了一名女子的独白，她 自称从小对外界感到恐惧，一次意外的杀人却让她无依无靠的心得到慰藉。笔记中极其真实的描写令亮介甚为恐惧，却又欲罢不能。与此同时，自称千绘朋友的细谷女士（木村多江 饰）找上门来，向他透露千绘失踪的原委。在阅读笔记的过程中，亮介似乎紧紧被这个名叫光子（吉高由里子 饰）的女子攫住，而其中更隐藏的莫大的秘密……　　本片根据沼田真帆香留的同名小说改编。

简介：2010年，超大型台风横扫福冈冲，这片海域上名为“列格利亚”的天然气钻井平台遭到猛烈袭击，其附近一艘货船撞向平台，引发强烈火灾。为了防止造成惨烈的损失，保护国家的重大课题项目，隶属第十管区鹿儿岛航空基地的仙崎大辅（伊藤英明 饰）和伙伴吉冈哲也（佐藤隆太 饰）等海猿战士临危受命，在平台所属公司的设计者樱木浩一郎（加藤雅也 饰）的引领下进入危机四伏的“列格利亚”。台风没有丝毫减弱的迹象，而“列格利亚”随时可能发生超强大爆炸。生死关头，仙崎和战友面临前所未有的大考验……　　本片由小森阳一取材、佐藤秀峰创作的漫画作品《海猿》改编。

简介：

　　在一群被军方准备拘捕的犯罪分子里，布兰登（Chad Michael Collins 饰）发现他的父亲是其中的一员。在他犹豫是否应该抓父亲入法网的时候，无意中得知原来自己只是军方为了抓捕犯罪分子的诱饵。布兰登不愿意被控制，决定自己上阵去救回父亲。

简介：

一个男孩，一个海盗，还有一个精灵拯救了这次的圣诞节。查理，一个中国小男孩从上海来到好莱坞餐厅去寻找父亲，却深陷麻烦之中。他必须说服3个人相信圣诞精神，才能挽救他的家庭梦想。

简介：

军阀时代不少客籍和客籍华侨居于南洋时，中国少林与日本少林联合将一伙人杰全部消灭之后，两国将文学、武术等融为一体，日本少林还专派了两名弟子来少林学习，而在这时又有另外一个忍者组织听说中国少林有一本专破忍术的书籍，于是不惜一切代价要将此书夺到手，于是一场血雨腥风的争斗开始了。

简介：张狸从小厄运缠身，待业在家的张狸意外结识了胖丫。两人情投意合，决定创业，一个神秘的订单改变了她们的命运。　　拍卖会上，江屹尘付出了一个亿的身家财产拍得一张藏宝图，因此得罪了其他买家。相传这张藏宝图能找到宝物麒麟，价值连城。几经辗转，藏宝图落到张狸手中。　　逃亡途中，张狸得知了麒麟埋藏的位置。坏人追上来，好在林大庆救了他们。三人结伴寻宝，途中张狸与江屹尘互生情愫。张狸的父母带着麒麟的秘密与张狸团聚，坚定了她找回麒麟的决心。　　历经坎坷，三人终于找到了麒麟，却被穷追不舍的两方势力围堵，三方硬碰硬。三人杀出一条血路，林大庆付出了生命。最终，阮先生被绳之以法，麒麟也被平安送回了苏苏手中。

简介：有一只小象，因为耳朵特别的大而遭到了嫌弃。过气的马戏团明星霍尔特（科林·法瑞尔 Colin Farrell 饰）带着一双儿女米莉（妮可·帕克 Nico Parker 饰）、乔（芬利·霍宾斯 Finley Hobbins 饰），成为了小象的照顾者，他们非常喜欢小象，给它取名小飞象。　　一次偶然中，父女一行人震惊的发现，小飞象竟然真的会飞，这消息一经传出，市民们纷纷买票来到马戏团，想看一眼这奇妙的景象，本来濒临倒闭的马戏团因此而重获新生，小飞象也一夜成名。大企业家范德威尔（迈克尔·基顿 Michael Keaton 饰）在小飞象的身上发现了商机，于是抛出橄榄枝，邀请小飞象到自己的俱乐部工作，然而没过多久，霍尔特就发现，范德威尔表面上光鲜亮丽，实际上是一个吃人不吐骨头，眼里只有金钱的贪婪资本家。

简介：馨蔚是被外星人植入了舒瑶的记忆并指派到地球执行命令的机器人，目的是为了寻找人类的弱点，好为将来的大肆侵略做准备。秦彦认为馨蔚就是舒瑶，想尽办法接近她试图唤醒她的情感。馨蔚被两人爱情的回忆打动，放弃了入侵地球的计划，而伙伴刘思齐却向秦彦和他们的孩子下了毒手，解药只有一瓶，该救谁，馨蔚陷入绝境之中…

简介：

本片讲述了即将毕业大学生江大龙，为了装腔赌气，立誓加入腾飞救援队的故事。在经历了打击与考验后,成长为一个合格的救援队员，不仅帮助了别人，也意识到了自己的能力与价值所在,找到了人生的方向，收获了过命的友情与一段即将到来的爱情的故事。

简介：Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop　　Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.　　The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.　　Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.　　However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.

简介：The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.　　On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.