穆桂英挂帅

　　律师李捷（姚晨 饰）正在离婚进行时，与前夫争夺女儿抚养权，拼命工作为给孩子最好的生活，幸有保姆孙芳（马伊琍 饰）帮忙照顾孩子视如己出。                                                                                  一日下班，李捷发现保姆孙芳和女儿毫无预兆地消失了，她内心最大的恐惧变成了现实。在追寻孙芳和女儿的下落时，她收到来自家人的谴责声讨，甚至遭到警方的怀疑。几乎崩溃的李捷，靠着惊人的勇气，踏上独自寻访的旅 程。在追踪过程中，李捷逐渐接近了另一个女人——保姆孙芳的人生故事，她的身份原先都是谎言，而真相也将浮出水面……

　　都会のアパートで一緒に暮らしている二人の女性、美津と夏子。ひそかに美津を愛し始めた夏子は、美津を自分だけのものにしようと、彼女の恋人に近づき、子供を宿してしまう。美津は夏子のもとを去っていくが、夏子は彼女のあとを追い続ける……。微妙な心理ドラマを力強い演出で見せる佳作。

　　克恩郡巡警乔狄肯，小名狄克（丹泽尔·华盛顿 饰），被派往洛杉矶进行本该是趟简单明快的证据收集任务。取而代之的是，他被卷入一场缉捕正肆虐该市的连环杀手之行动。领导缉捕的是洛杉矶郡警长吉姆贝克斯特（拉米·马雷克 饰），对狄克的警察直觉大为惊艳，因而私自寻求他的协助。
　　但在两 人追踪主要嫌疑人艾伯特史帕玛（杰瑞德·莱托 饰）时，贝克斯特浑然不觉该调查勾起了狄克对过去不愉快的回忆，随之出土的黑暗秘密除了威胁案件调查外，可能牵连更剧。

　　故事的女主人公荷洁的丈夫意外死于交通事故，得到赔偿却失去一切亲人的她因为一块价值不菲的琥珀陷入了对生命价值的困惑。她在接连靠近肇事者家庭的失控后终释怀，以温柔姿态接受宿命归属。

　　1847年，在大饥荒发生两年后，一位叫费尼（詹姆斯·弗兰切威勒 饰）的士兵为英国打完了战争后逃回到爱尔兰，看到一片挣扎与混乱，发现亲人全部死去，便下定决心复仇。同时英国派出了汉那（雨果·维文 饰）去阻止费尼，而费尼和汉那却又是当年的战友……

　　Kryptic is a psycho-thriller about a woman’s search for a missing monster hunter and her growing realisation that she is inescapably linked to the creature being pursued.

　　黄天行是位疾恶如仇并身怀绝技的青岛市名探。一次，在追捕窃贼时无意发现一具女尸。经调查后得知，乃一富家女，因在西洋集会所进行堕胎，手术失败而致死。后黄查悉该女经常去仁爱福利会，便潜入查探。黄目睹会中荒淫丑事，正欲抓负责人淑子之时，遭暗袭。幸得一乔装少女相助，终将淑子抓护。事后，因受警卫队长赵保成之压力，只能将淑子释放。黄于警局中认识了中央派来的女探员雷英，其便是救他之女子，亦为黄的师妹芳英之妹。芳英乃是女警，不幸为赵陷害而牺牲。雷英此次前来，一为收集不法组织的罪证，二为替姐姐报仇。黄于金行擒下大盗朱元魁，搜集证据时发现了赵铸币营私之证据，向局长报告，由雷英呈文中央政府将赵撤职查办，赵终绳之以法。
　　此片彻头彻尾地抄袭日本电影-御用牙，地狱责罚。

　　戴夫·帕特尔加盟导演迈克尔·温特伯顿新片[婚礼客人](Wedding Guest，暂译)。影片背景发生在印度，片方尚未透露剧情。温特伯顿曾凭借[关塔那摩之路]问鼎柏林电影节金熊奖、另凭[尘世之间]荣最佳导演银熊奖。目前影片前期筹备工作已经展开，导演已于近日远赴孟买，与当地演员进行接洽。

　　米卡現在是知名的「馬溝通師」。有一天，她和她心愛的黑馬「颶風」一起來到牠的出生地西班牙。在那裡她發現了神祕的綠洲，供給大批野馬水源生存，就像馬的家一樣。然而，綠洲主人被迫賣掉土地給覬覦泉水的大公司。為了拯救綠洲，米卡打算重啟古老傳統：賽馬。如果比賽成功，綠洲就會成為文化遺址，獲得政府保護。米卡和颶風不只要準備比賽，還要做出重要的決定…

纯真开朗的女大学生吉慧英（冯文娟 饰）在突遭家庭变故后，鼓起勇气坚韧前行，在被男人垄断的煤炭行业闯出一片天地的励志故事。

　　In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.
　　The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).
　　Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.
　　As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.
　　Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.
　　The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.
　　Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.
　　The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.
　　The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.

　　《金大班的最后一夜》改编自作家白先勇的同名小说。叙述的是三十年代至五十年代，从上海“百乐门”到台北“夜巴黎”的一段风花雪月的故事。它讲述了一位风华绝代的舞女大班及“百乐门”四大美女的风月传奇和悲情因缘。这是一部由轻歌与曼舞、灯红与酒绿、朱颜与白发、香鬓与俪影、西装与旗袍、金钱与爱情、苍凉与华丽交织而成的醉梦人生。