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一个巨大的不幸降临在游览水族馆的毫无戒心的人类身上，他们被迫为自己的生命而战，因为一个反常的科学事故导致水生生物变成了嗜血的丧尸。

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　　为了寻找失落于地球的量天仪宝珠，太空城族长扎尔塔（彼德·奥图 Peter O'Toole 饰）派遣女超人卡拉（海伦·斯雷特 Helen Slater 饰）前往地球。此时的宝珠落到了邪恶的女巫赛琳娜（费·唐纳薇 Faye Dunaway 饰）的手中，为了炫耀这价值连城的宝 物，赛琳娜举办了一场晚会，而这就是卡拉夺回宝物的最佳时机。卡拉的举动惹恼了赛琳娜，她设计将卡拉骗至恐怖城，夺走了她的力量与自由。
　　得知卡拉遇险，扎尔塔前来营救，却不想命丧赛琳娜之手。悲愤的卡拉想方设法逃脱了赛琳娜的桎梏，为了给死去的扎尔塔报仇，为了夺回珠宝，为了维护世界的和平，卡拉做好了准备，要与赛琳娜展殊死搏斗。

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　　地球就是个人鼠星球，在AB某年

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　　维奥莱特（派珀·佩拉博 Piper Perabo 饰）是个小镇姑娘，21岁时独身一人来到纽约闯荡，试图实现自己的音乐梦想，但命运并没有厚待她，住进狭窄小屋，经历一次次碰壁后，维奥莱特几近走投无路，偶然的机会，她来到一家名叫“女狼俱乐部”的酒吧，结识了泼辣自信的女老板（玛丽亚·贝罗 Maria Bello 饰），成为她们中间的一员。“女狼俱乐部”是由一群女孩子们做主导的特色酒吧，她们每个都性感美艳，夜里用火辣舞蹈和精湛的调酒技术赢得客人欢心，维奥莱特获得了登台演唱的机会，也结识了凯文（亚当·加西亚 Adam Garcia 饰）开始一段爱情。维奥莱特最终明白，追梦的路途，需要克服的最大困难还在于自己……

简介：本剧以德克萨斯州式音乐剧的形式，讲述美国第一乡村音乐家族坎特雷尔·罗曼一家错综复杂的谎言、爱与背叛——女族长多蒂在家族音乐会上将皇冠传给女儿尼基，随即意外去世；弟弟卢克作为家族公司首席执行官，在他举办的巡回演唱会上，妹妹吉吉的迷人嗓音使得尼基在舞台上的表现黯然失色；随吉吉意外得知多蒂的真正死因，兄妹间陷入激烈的纷争，家族成员间的秘密也被公之于众。欲戴王冠，必承其重，才华横溢的继承人尼基决定不遗余力地保护摇摇欲坠的罗曼家族。

简介：年轻女演员排练了一个与人口贩卖相关的剧目，结果真切地体验到了剧中的恐怖情景。这究竟是梦境，还是另一种现实？

简介：A New York teacher who moves to small town Texas, is fired for being gay, and returns disguised as a mean lady to get revenge on the nasty town.

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　　卡罗索（乔治斯·科拉菲斯 Georges Corraface 饰）因为要参加同学聚会，而回到了阔别已久的故乡，在那里，熟悉的景象勾起了他无数的回忆，也让那个隐藏在他回忆深处的人影渐渐清晰起来。这个人是卡罗索的表妹马丽娜（Markella Pappa 饰），两人是青梅竹马的玩伴，整天就在一起虚度无忧无虑的童年。随着年龄的增长，卡罗索和马丽娜都渐渐意识到两人之间性别的不同，本来单纯的友谊也慢慢变成了爱情，此时，卡罗索的父母选择将儿子送进了教会学校，两人的缘分就此终结。
　　一晃眼多年过去，卡罗索如他童年时代许下的愿望那般，真的成为了一名飞机工程师，同学聚会当天，他意外的接到了来自马丽娜的电话。

简介：一条美人鱼从太平洋上被撕裂，尾巴被切掉，她被扔进了一个精神病院，在那里没有人相信她是美人鱼。

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年轻女子（琼·芳登 Joan Fontaine 饰）初遇曼德利主人德文特（劳伦斯·奥利弗 Laurence Olivier 饰）是在海边的悬崖边上。她以为德文特要跳海自尽，大叫一声，让德文特生气不已。然而，接下来的二人相识继而相知的经历让他们堕入爱河，结为伉俪，女子成为了曼德利庄园的女主人。                                                                      　　幸福的生活眼看就要铺开，这个新婚妻子却遭遇到了阴森的“寒流”。她发现这个庄园到处可见德文特前妻丽贝卡的影子，她的名字，在家具留下痕迹，更令新婚妻子不安的是，管家丹佛斯太太，更是念念不忘丽贝卡，对这个新来的主人充满仇恨。就连丈夫德文特，也不愿意解释这一切，仿佛他的内心还有旧情。                                                                      　　丽贝卡犹如梦魇般弥漫在曼德利庄园，事情开始变得越来越复杂。

简介：A misfit gang of runaways and orphans are taken in by a dark and charismatic father figure who together wreak havoc throughout swamps and trailer parks of central Florida.

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1940年，迪士尼公司制作了第三部长片动画《幻想曲》，为动画史贡献了一部迄今仍难以企及的经典名作。本片由8部音乐短片组成，最早诞生的《魔法师的学徒》讲述了在魔法师严西（Yensid，迪士尼Disney倒写）手下学徒的米老鼠偷戴师傅的帽子，利用魔法指挥扫帚挑水并惹下大祸的 有趣故事。该片原打算收入“糊涂交响曲（Silly Symphonies）”系列，但因严重超支，入不敷出，故迪士尼决定另外结合几支经典名曲拍成一部音乐短片合集，一并发行。只是因过于艺术化以及二战等方面的原因，《幻想曲》并未取得预期的收益。除杜卡的《魔法师的学徒》外，本片收录曲目还有巴赫《D小调托卡塔与赋格》、柴科夫斯基《胡桃夹子》、斯特拉文斯基《春之祭》、贝多芬《田园交响曲》、蓬基耶利《时间舞曲》、穆索尔斯基《荒山之夜》和舒伯特的《万福玛丽亚》。                                                                      　　本片获第14届奥斯卡特别成就（音 乐和录音技术）2项金像奖。

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　　妻子去世后，克劳德在与秘密生活在一起时，表面显得正常,实际上内心挣扎.

简介：莱西，一个社会分离的孤独者被诅咒与不朽和永无休止的单调的存在。在她试图控制她的强迫，她寻找人类必须提供最黑暗的灵魂。莱西现在必须面对自己的内心恶魔，同时找到她的下一餐。

简介：伯尼回来了，孩子们都很高兴。但他们的宿敌温斯顿也一样，他即将绑架这只天才海豚。凯文和霍莉必须在为时已晚之前救出他们那泼辣的朋友。　　The kids are thrilled that Bernie has come back. But so has their old enemy Winston, who's about to kidnap the talented dolphin. Kevin and Holly must rescue their splashy friend before it's too late.

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　　特吕弗的第一部彩色片，也是其作品中最富社會及政治意識的一部。在未來世界裡，書籍一概被禁止，讀書便是犯罪，所有書籍都要交出焚毀。消防員的任務不是滅火救人，而是焚書和捕捉讀書人。於是有一些愛書者，把書背熟，希望日後可以流傳，這些人稱為「書人」。男主角本是一個忠心的消防員，焚書是他的職責。有次認識了一個女孩，受到她的影響，漸漸改變了人生觀，發現了書本中原來充滿了靈性的世界。經過這種溫馨親切的心靈生活，使她不能再忍受冷酷無情的機械社會。最後，他偷閱書本的背叛行為被妻子告發，他與情人設法逃往另一個符合他們理想的美麗世界，在那裡有書籍的存在，重複人類真正的生活。
　　改編自美國作家雷·布烈伯里的科幻小說。（電影雙周刊）」

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丽瑟（芭芭拉勒琪 Barbara Laage 饰）是一名妓女，一天，她和两个黑人乘坐着同一列火车，突然，四名白人闯入了他们所在的车厢，要求黑人下车，最终，六人扭打在了一起，一名黑人被名叫托马斯的男人开枪打死，另一个黑人跳车逃跑了。                                                                      　　事后，白人声称黑人想要强奸丽瑟，所以他们才“拔刀相助”，而出手杀人的托马斯，他的表弟福莱特有一个当参议员的爹，福莱特为了帮助托马斯脱罪，竟然要求丽瑟作伪证。丽瑟虽然没有读过什么书，从事的也是低贱的工作，但她有一颗闪闪发光的心，对于这种非正义的要求誓死不从，无奈参议员巧舌如簧，在他的半哄半骗之下，丽瑟最终还是在伪证上签了名。

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　　本片翻拍于备受赞誉的2011年比利时电影《后会有期 Hasta la Vista! 2011》 。三位主人公是一名盲人，一名半身瘫痪着和一名全身瘫患者，但是他们相信，像他们这样的人也有权利追求爱和性，所以三人本着“破处”的目的向着蒙特利尔一家为残疾人提供服务的地方出发了。

简介：Amalie's dance crew advances to the global finals in France. Torn between the love of Mikael, the longing for her absent mother, and her fire for dance, Amalie must choose. Who is she to become

简介：Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play La Morte in Vacanza by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.　　To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.　　(Howard Schumann, talkingpix.co.uk)　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.　　(Dennis Schwartz, homepages.sover.net)　　I've heard DRACULA was advertised with the tag line The Weirdest Love Story ever told! (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.　　(Dave Sindelar, scifilm.org)　　See also the remake Death Takes A Holiday (1971)

简介：Michael (or Fresh as he's well known) is a 12-year-old drug pusher who lives in a crowded house with his cousins and aunt. His father has become a street bum,but still meets with fresh on occasion to play chess. Fresh is rather quiet in a crazy world. Fresh' sister is a junkie who sleeps with the dealers that fresh sells for. As the story progresses Fresh realizes that he doesn't want to sell drugs anymore, he wants revenge.

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愤怒、嫉妒、暴食、好色、懒惰、虚荣、小气，这七宗罪历来被很多国家电影人搬上银幕，最新的也许是那个美国版本，而最经典的，可能就是这部1962年的集锦片了。当时，法国新浪潮的旗帜刚刚举起，很多新晋导演还没能够充分展示自己的实力，这样一部集合众多人才的短片集锦无疑是向观众、也是向制片人展示自己的最好机会。                                                                      　　每个故事都紧扣主题，或者夸张或者讽刺或者幽默或者绝望，七个简单的名词，使影片先有了一半的戏剧性，接下来就要看导演的风格、兴趣和功力了。大概是出于商业目的，影片中大部分都是喜剧性的小故事，最夸张的莫过于由欧洲现代戏剧大师尤内斯库编剧、协助导演的“愤怒”故事，各种夸张笑话都集合在这部导演明星荟萃的超级大拼盘里。