大黄蜂

　　奥利弗（马克·莱斯特 Mark Lester 饰）是一名孤儿，从小在教会中长大。九岁时，奥利弗被派遣到工厂做工，之后又来到殡仪馆成为了学徒。奥利弗的聪慧和机敏让他很快就在殡仪馆里站稳了脚跟，但与此同时，他亦遭到了同伴们的妒忌，他们故意挑衅激怒奥利弗，最终奥利弗离开了殡仪馆。
　　无家可归的奥利弗过起了四处流浪的生活，经过漫长的旅途，他来到了伦敦。一个名叫道奇（杰克·瓦尔德 Jack Wild 饰）的扒手将奥利弗带到了匪首费金（朗·穆迪 Ron Moody 饰）的面前，就这样，奥利弗成为了他们中的一员。一次意外中，奥利弗被警察逮捕了，但随后，他被证实是无辜的，当事人布朗罗先生（Joseph O&♯39;Conor 饰）对奥利弗感到十分愧疚，于是收留了他，奥利弗的生活能够从此走上正轨吗？

　　1957年，大学生林相俊（吴升一 饰）来到北海道，拜访父亲的好友松本秋男（滨村纯 饰）。在松本先生的家里，他见到了对方正在念高中的养女伽耶子（南果步 饰）。十数年前，二次大战结束后的混乱时期，伽耶子被日本人的生身父母抛弃，后被作为朝鲜人的松本夫妇收养。短暂的相遇，让相俊和伽耶子对彼此都有了隐隐的好感。此后他们虽然身处东京和北海道两地，却依然通过信件交流心声。然而战争、民族等等因素宛如无形的大墙，横亘在两人的中间。相俊的父亲奎洙（加藤武 饰）无法忘却民族的屈辱和仇恨，即使作为战胜的一方仍被创痛所折磨。伽耶子的养母虽然是朝鲜人，但不愿女儿和朝鲜人相恋，坚决反对她和相俊的恋情。爱情看似自私，毕竟又不是两个人的事……
　　本片根据李恢成的原作改编。

　　Out of the fifties &♯39;B&♯39; Science-Fiction monster movies, this easily ranks as the best. It&♯39;s most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance.
　　The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he&♯39;d have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity).
　　Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can&♯39;t prove it, and 50&♯39;s space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH).
　　As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don&♯39;t go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim&♯39;s case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does.
　　The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, &♯39;IT!&♯39; also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn&♯39;s forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie&♯39;s suspense is blunt and right to the point: "IT!&♯39; has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome.
　　For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters&♯39; helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot&♯39;s scary ambience. The black & white photography (Yes, it&♯39;s one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn&♯39;t stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him.
　　The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone&♯39;s "It&♯39;s a Good Life")? The picture&♯39;s taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!)
　　Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio&♯39;s commercial insistance, it is a little over-revealed at the climax, but I haven&♯39;t claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying.
　　This film&♯39;s story is not really totally original (what is?), for it is based on A.E. Van Vogt&♯39;s "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from.
　　As long as you&♯39;re not craving another CGI wind-ding, you may find it worthwhile. Just don&♯39;t expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.

　　在《城中三餐》中，张锡镐将在每一集里和不同的名人嘉宾探索一座城市的文化和美食。他们在各个城市中旅行时，也会在自己身上发现新奇的惊喜。
　　《城中三餐》由 Tremolo Productions 和 Majordomo Media 联合制作。摩根·内维尔、达拉·霍伦布拉斯、张锡镐、克里斯托弗·陈、卡里恩·卡波茨顿、布莱克·戴维斯担任监制。

　　本部战争片是对伟大的卫国战争（1941-1945）胜利七十周年的献礼。它围绕着主人公帕维尔•祖博夫的故事展开，他是一名学校老师，作一个老师是他的人生使命。帕维尔所在的村庄被法西斯占领。他相信着基本的人类价值，比如爱情和家庭。然而，一系列事件导致的变化改变了他对生活的认知，使他回到现实。在战争中，敌人逐步显露出其真面目。帕维尔必须做出不易的选择：是生存下去并适应新政权，还是为他的家人，爱情，国土，理想和信念而战。

　　一场没有人道底线的医疗试验，一群没有未来的死刑囚犯，这一切都在渺无人烟的北大西洋孤岛监狱中发生。当权力吞噬了人性，这场神秘试验失去控制，人类创造了令自己都不敢想像的病毒。整个岛屿瞬间成为一座可怕、充斥着感染者的绝望炼狱，到底谁还能活到最后？

　　《椿之庭》是日本知名广告摄影大师上田义彦首次自编自导兼摄影的电影作品，也是他经过十年时间构想出的作品。故事讲述了住在山茶花盛开的房屋中的祖母绢子和孙女渚，与一年内不时上门拜访的客人之间的互动，在四季中感受着庭院里的花草树木，以及疼惜着身边还陪伴着的家人们。
　　女主角“绢子”由日本资深影后富司纯子饰演，片中的孙女“渚”由曾凭借《新闻记者》获得第43届日本电影学院奖最佳女主角的沈恩京饰演。此外还有田边诚一，铃木京香，清水綋治，张震等人共同出演。

　　讲述失踪25年的妹妹“有真”重返家中后家人逐渐出现了变化，对此感到异常的哥哥“书振”追查妹妹隐藏秘密时发现令人惊讶事件的推理悬疑故事。

　　该片讲述的Chad Cutler(迈克尔·法斯宾德)想要脱离自己的黑帮家族的故事。这是英国导演Adam Smith的首部故事长片，2014年开拍。

　　虽然特雷弗（布兰登·费舍 Brendan Fraser 饰）是大学的地质教授，但是却经常做出挑战传统的事情。他认为，凡尔纳的小说并不是科幻，而是真是存在的。就是因为这样的对立理论，使其被传为学院里的笑话，使得他的学术名声毁于一旦。不过特雷弗却毫不在意这些，他坚信自己的理 论是正确的。为了验证自己的理论，特雷弗带着侄子肖恩（乔什·哈切森 Josh Hutcherson 饰）和当地的向导汉娜（安妮塔·布瑞姆 Anita Briem 饰）开始了在冰岛的旅行。在旅行时，三人意外发现一个奇特的洞穴，并在探询时踏破薄冰跌入了无底深渊。不过，当他们醒来时，却发现了一个神秘的地心世界，里面有着各种稀奇古怪的生物，与凡尔纳小说里面描述的场景一模一样。证据终于找到了，但是如何将证据带回地上？特雷弗三人开始了寻找出路之旅……

　　杰西（德鲁·巴里摩尔 Drew Barrymore 饰）和米莉（托妮·科莱特 Toni Collette 饰）是从小玩到大的亲密好友，两人有着共同的童年回忆，彼此早已经成为了对方的一部分，密不可分。长大后，两人的友谊依然继续，米莉结了婚，有了两个可爱的孩子，生活在幸福和美满之中，这令杰西十分羡慕。
　　杰西也想和丈夫共同养育他们的孩子，只是一直不能如愿，在米莉的鼓励和陪伴之下，勇敢的杰西终于在经历了多次失败之后顺利怀孕，圆了自己做母亲的心愿，然而这时，米莉却被确诊患上了癌症。无法接受这一事实的米莉陷入了绝望之中，开始自暴自弃，杰西及时挺身而出，成为了好友最坚实的后盾。

　　一场暴风雪覆盖了通往法国偏远小镇的道路，一台空车停在路边，车主却不知去向。当地警方来到了小镇农场主人米歇尔的家中问话，米歇尔却显不耐；女主人艾莉丝一面对失踪事件感到好奇，但同时她更挂念着她的保险客户约瑟夫。
　　年轻貌美的服务生玛莉咏在餐厅邂逅了谜一般的伊芙琳，两人很快陷入热恋。虽然年龄差距和身份地位都阻挡她们在一起，但玛莉咏靠着伊芙琳留下的只字片语，花了好几天徒步走到伊芙琳的家门前。然而等待她的却不再是床上满口爱意的那个人。
　　看似意外的小镇事故却如蝴蝶效应般影响着来自不同地方的人们，一个不宁静的夜晚意外串接起所有人心里最深层的秘密。