金融决战

简介：

六年前的一場大地震帶走了嘉芸（陳加恩飾）的哥哥嘉鴻，原本倖存下來的                                                                      　　家人走過了傷痛，卻因為佩蓉（王琄飾）的失智，不得不再次面對相同的傷口，而她的                                                                      　　丈夫振遠（庹宗華飾），在照顧佩蓉的同時，一直埋藏在內心的毒瘤便開始隱隱作痛，                                                                      　　原本想讓佩蓉康復的心意也逐漸產生變質，一家人相愛卻相遠，在失落的記憶中，尋找                                                                      　　一絲倖存的機會。

简介：

剧情简介：水原与美俞是一对幸福美满的夫妻，为了庆祝结婚一周年，两人开车到山上来场浪漫露营之旅。然而，深夜的营地突然出现一个蒙面的陌生人，持刀攻击他们，在逃亡的过程中，痛苦的真相逐渐浮现，但这仅仅是噩梦的开始…

简介：Wening是一位母亲，她 11 岁的女儿Nirmala在桥上的一次摩托车事故中失踪。韦宁的母亲Uti Yah也在这次事故中丧生。Wening对母亲的死和孩子的失踪感到非常内疚，但她相信自己的孩子还活着。女推理播客 Tirta 开始对Wening伸出援手 ，但随后Tirta 揭开了Wening过去的黑暗秘密...

简介：

　　20年前罗拉（安吉丽娜•朱莉 饰）的父亲（乔恩•沃伊特 饰）挖掘古墓得到的一个箱子里收藏了一个神秘的钟。罗拉从父亲那里知道，这个钟与一个神秘组织有关。这个叫光明会的组织相信当他们找到这个古钟后，便有了把时间与空间打开的钥匙，一把三角形的金属钥匙。多年来该组织一直在苦苦寻觅。 光明会希望通过这把钥匙让他们的组织始祖复活。但首先要找到钥匙。而且时间紧迫，两天后将出现日全蚀。这个时候三角钥匙内在的力量便会达到最大。光明会不想错过这个大好机会。罗拉扛上了这个艰巨的任务，在重重困难中寻找拯救宇宙的三角钥匙。

简介：

　　《命运轮》是一部软科幻、悬疑、推理剧情电影，故事讲述了大明星何泽，不仅相貌英俊、而且才华横溢帅气多金，高富帅的他身边美女如云，然而因为个性张扬跋扈，周围竟没有一个真心朋友。某天因为某种神秘力量驱使，何泽开启了平行世界里命运轮回的奇妙的一天... ....

简介：

　　大学毕业季，本该是青春散场的符号。小雅和沫沫一个单纯浪漫，一个成熟内敛。这对相亲相爱的好闺蜜却并没有因为两人的贫富差异而彼此间隙，更没有因为毕业在即而伤感。相反地却因为彼此家庭的破碎而始终相互扶持，彼此依靠取暖。她们本以为会一辈子就这样相依相伴的守护彼此，然而青春成长的阵痛带给她们课题却是爱情的考验，面对郭皓杰的出现，沫沫对他一见钟情，穷追猛打，小雅却对他的存在毫不在意。奇妙的是，纵使小雅对他淡漠不已，郭皓杰却对小雅百般讨好，刻意靠近。小雅突遭家庭巨变，毫不知情的沫沫，非但没有发现小雅的异样，反误以为小雅抢走了自己心爱的男孩，两人大打出手，这对好闺蜜之间第一次出现了情感的间隙……至此，青春的帷幕才被正式拉开……

简介：新皇登基，朝局不稳，边关将领韩忠携子韩超回朝维稳。恰逢此时，手握边关兵符的六王爷惨死，为防止兵符出城，皇上下令封闭城门三日。同时为安民心，亲派韩超等人查获六王府命案，以三日时间为限。随着案件的深入调查，一桩17年前的惨案浮出水面，“红衣诡影”传闻响彻京城。凶手真实身份扑簌迷离，案件越发诡秘离奇...

简介：不仅四处寻花问柳，还企图占据她父亲的财eee。一天南西意外遇到一艘飞碟，受到过量射线辐射，顿然产生了恐怖的异变，诱人的胴体挣脱内衣，身体迅速膨胀。一时间变身成巨人的南西，面对几乎所有人类的敌意和丈夫的背叛，决定拿出异于常人的勇气去迎战一切威胁……然而此时，政府派出武装军队对她进行全面的围攻，一时间所有的枪口都对准了女巨人。一场疯狂的战斗即将展开，正在此时外星飞碟再次神秘登场。女巨人的命运将何去何从。

简介：梅拉布（列文·格尔巴赫亚尼 ლევან გელბახიანი 饰）出生于舞蹈世家，专研格鲁吉亚民族舞，然而，这种舞蹈追求的是强劲有力的男子气概，可梅拉布自幼就身材娇小一副弱不禁风的样子，因此，无论他怎样的努力，却总是遭到教练根本性的否定。　　某日，舞蹈队里来了一位名叫伊拉克利（巴奇·瓦利什维利 ბაჩი ვალიშვილი 饰）的新队员，这个男人幽默风趣，自由不羁，同时也有着极强的专业素养。在伊拉克利的刺激之下，梅拉布再度燃起了斗智，想要和他一分高下，与此同时，还有另外一种隐秘的感情在梅拉布的内心里渐渐苏醒，而他知道，这种感情很可能会毁掉自己的前途，乃至整个人生。

简介：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

简介：丁安安（白允然）與雍晴（林姍姍）兩個表姐妹自小就讀於同一所女校，因二人的母親（韓瑪利、蘇杏璇）一向口和心不和，從小就向自己女兒灌輸好勝思想，因此形成安安與晴從小鬥到大，三日一小吵，五日一大鬥。　　她們在校中認識了男同學米高（張衛健）及保羅（陳俊國），很快成為情侶，兩對小冤家後來因鬥氣竟然互調了男朋友……　　本人八卦　　本片是张卫健的荧屏处女作，而他的荧屏初吻自然也献给林姗姗。林姗姗在当时小有名气，和陈百强的合唱曲目也是本片的插曲《再见Puppy Love 》是她的代表作品，同时她还有主持和电影差不多同名的节目《三个小神仙》。据说她还是发现郑伊健的经理人……

简介：Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with hisher partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...