最后的巫师猎人

　　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.

　　外人看来，彼得（连姆·尼森 Liam Neeson 饰）无疑是一个幸福的男人，妻子丽萨（劳拉·琳妮 Laura Linney 饰）温柔漂亮，两人的婚姻稳定而美满。可近日来，彼得发现丽萨的行为举止越来越奇怪，多疑的他本能的想到，丽萨可能已经另结新欢了。面对妻子的出轨，占有欲极强的彼得感到妒火中烧，通过种种线索，一个名叫雷夫（安东尼奥·班德拉斯 Antonio Banderas 饰）的男人浮出了水面。
　　追随着丽萨的脚步，彼得来到了意大利，在这里，他果然见到了雷夫。狡猾的彼得决定先隐藏身份，接近雷夫。可是，随着彼得和雷夫的关系越来越近，彼得发现自己渐渐无法控制自己的言行，他对雷夫的存在深恶痛绝，恨不得杀之而后快。

　　Top Gear，是由BBC出品的一档汽车娱乐节目，自2002年改版推出，至今已经25季。脑回路清奇的创意、疯狂在燃烧的经费、堪比好莱坞的制作，它被称为全世界最好的汽车秀。本次，Top Gear第25季将于2月26起，在bilibili全网独播，每周一10:00更新一集，前24季也将陆续上线。不解释了，赶紧上车吧。

　　《卡布里托》分为三章，讲述了一个男人受所爱的人困扰的故事。影片从他父亲的故事开始，以及这个家庭是如何变成食人族的。第二章重点是男主的母亲，以及她如何用扭曲的宗教信仰唤醒儿子最坏的一面。最后一章主要讲述了男主绑架初恋情人罗莎莉塔的最后宣泄，再现了他在家庭关系中所遭受的非人的离奇关怀。。。

　　电影《空白》突显现代人与人的关系、家庭羁绊与媒体的真实面目，什么是真的？谁是正义？思绪在意想不到的地方朝着危险方向上被放大，反映了现代社会。登场角色们，在爱和恨的尽头呈现出全体受害者与加害者的样子，将乍看愤世嫉俗的题材混用讽刺的黑色幽默的手法来描绘。
　　这一切的开端始于一个商店盗窃未遂事件，一名女中学生在超市的化妆品柜台被店主看到偷东西而逃离现场，但一出国道就发生车祸事故身亡。女学生的渔夫父亲添田充坚信“女儿不可能偷东西”，让怀疑加剧，并追捕了事故的相关人员。另一方面，由于父亲的压力与媒体报导的加温下，让事故契机的超市店主青柳直人，开车的女驾驶陷入混乱与自我否定。

　　《终极快递》是法国电影大师吕克·贝松自《的士速递》系列后有意打造的又一个系列飙车电影。
　　山姆（迈克尔·扬 Michaël Youn 饰）是一个信使。他每日飞车穿过巴黎，常常无视交通的基本规则。他必须出席婚礼以试图挽救与女友纳迪娅（杰拉尔丁·纳卡什 Géraldine Nakache 饰）的关系，然而这天他没有选择地只能接受他的老板紧急差事，去送一个快件。为了完成任务他不得不扮演罪犯的帮凶，将价值连城的珠宝送至巴黎市中心的豪华酒店。当他一身快递装扮进入大厅时，前台经理有些嗤之以鼻，但在山姆报上名号后，经理态度则180度大转弯，令人忍俊不禁。山姆也没有想到自己能入住总统套房，而在房间里还有一位美女等着他.......

　　艾里克（安德鲁斯·威尔森 Andreas Wilson 饰）是一个让所有人都感到头痛的不良少年，逃学翘课打架生事，哪个都少不了他的一份。究其原因，还要归结到父亲的家庭暴力上去。在被公力学校开除后，爱子心切的母亲不得不将艾里克送入了斯特加伯格私立寄宿学校，可当艾里克来到这里后才发现，曾经满心欢喜的以为终于逃脱了家庭掌控的自己不过是从一个监狱被转移到了另一个监狱罢了，高年级的学生们称霸着校园，就连老师们也不敢越雷池半步。
　　没过多久，艾里克就和室友皮埃尔（亨里克·伦德斯多姆 Henrik Lundström 饰）成为了朋友，皮埃尔温和的性格渐渐改变了艾里克，他发誓要安安分分的念书，直到毕业。可惜天不遂人愿，初来乍到的艾里克很快就成为了校园混混们的欺负对象，在忍辱负重和全力反抗之间，他该如何选择？

　　维达和亚瑟来自于两个完全不懂的生活背景，感性动人， 有时候古怪忧伤，却始终真诚如一。
　　全新演绎一段夹在两个矛盾冲突的家庭之间的现代茱莉亚和罗密欧故事。

　　西班牙内战刚刚结束，正值战后创伤的艰难时期。在加泰罗尼亚的乡间，一个属于失败阵营的男孩安德鲁（弗朗塞斯科·科洛莫 Francesc Colomer 饰）在丛林中发现了一对父子的尸体。然而当局竟把罪名加到了安德鲁父亲法利奥尔（罗杰·卡萨梅杰 Roger Casamajor 饰）的头上，让他成为无辜的替罪羊。安德鲁决定独自行动，找到杀害那对父子的真正凶手，揭露事情的真相。安德鲁一路追查，成人世界里种种的阴谋与谎言，让幼小的安德鲁看清了这个扭曲的世界。为了活下去，安德鲁不得不背叛了自己的种族，他也渐渐意识到自己内心深处那个潜藏已久的可怕恶魔。
　　由西班牙著名导演奥古斯汀·维拉罗伽执导编剧的影片《黑色面包》，横扫2011年第25届西班牙戈雅奖包括最佳影片、最佳导演、最佳摄影、最佳改编剧本在内的多项大奖。

　　When blonde bombshell Meredith Lake breezes into his office, New York private eye Bob Signorelli can’t resist giving her “personal” attention. But their one-night stand becomes a deadly liaison when they are linked to a homicide; and a night of steamy passion snowballs into a marathon of madness and murder.

　　《特别市民》讲述了玩弄权力竞选三度连任的现任首尔市长卞钟九，在与罗美兰饰演的竞选对手梁珍珠争夺市长之位的过程中发生的故事，影片直指韩国政坛的丑陋一面。

　　奔波忙碌的现代化都市，男男女女为了生计疲于奔命，却往往让内心的情感无处安置。在东京某耐火材料制造公司上班的普通职员杉山正二（池部良 饰）这是这群大众中的一员，他眼巴巴地等待着升迁的机会，苦熬年头。婚后多年情感转淡，加上孩子的夭折，让正二和妻子昌子（淡岛千景 饰）的关系变得冷淡而微妙。无聊枯燥的人生骤起波澜，被称为“金鱼”的公司女职员金子千代（岸惠子 饰）闯入正二的视线，更让这个男人有了出轨的机会。原本便濒临崩溃的婚姻开始皲裂，昌子悲伤绝望，而正二也突然得到外派偏远分公司的调令。
　　杉山夫妇的关系受到严峻的考验……