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上帝的间谍
Bonhoeffer is the true story of a man who preached love while plotting the assassination of an evil tyrant. With world-shattering stakes, Bonhoeffer begs the question, how far will you go to stand up for what's right
导演：暂无 主演：乔纳斯·达斯勒/奥古斯特·迪赫
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◎8.7▶公主自传
《公主自传》是由詹姆斯·伊沃里执导，詹姆斯·梅森、Madhur Jaffrey主演的一部电影。
◎8.9▶粉与灰
河田大贵（菅田将晖 饰）、铃木真吾（中岛裕翔 饰）和石川纱里（夏帆 饰）是青梅竹马的好友和玩伴，彼此之间感情十分要好。大贵和真吾两人都热爱音乐，共同的爱好让两人的灵魂更加接近。高中毕业之后，机遇找到了大贵和真吾，由于样貌英俊帅气，真吾从最初的读者模特一路走高最终成为了星光闪闪的偶像，还成立了自己的事务所。 眼看着自己和好友之间的距离越来越远，仕途不顺的大贵内心里怎么可能会好受，就这样，他们的友情在平静之中慢慢走向破裂，最终，两人失去了联系，踏上了各自的人生道路。一晃眼多年过去，在同学会上，大贵和真吾重逢了。真吾邀请大贵到自己家中做客，哪知道当大贵登门拜访之时，等待着他的却是真吾冰冷的尸体。
◎5▶金衣女人
犹太裔美国妇女玛丽亚（海伦·米伦 Helen Mirren 饰）为讨回在第二次世界大战中被纳粹掠走的传家宝——《艾蒂儿肖像一号》，向年轻律师兰迪（瑞恩·雷诺兹 Ryan Reynolds 饰）求助，兰迪被名画不凡的价值与传奇的经历所吸引，决定陪玛丽亚追讨名画，这本是正义行为，但他们却发现奥地利当局使出种种手段，只为留住被视为“奥地利蒙娜丽莎”的国宝画作，玛丽亚与政府机器不屈不挠地抗争的同时，重回维也纳故地，掩埋超过半个世纪的痛苦记忆再度浮上她的脑海……
◎9.1▶柳暗花明
退休教师格兰特（戈登•平森特 饰）与妻子菲奥娜（朱莉•克里斯蒂 饰）相依相守44年，两人一直过着平静而舒适的生活。可是优雅高贵的菲奥娜患上了老人痴呆症，她的记忆力开始衰退，更日渐严重。菲奥娜决定入住疗养院，深爱妻子的格兰特只好妥协。从未分开过的两人需要在菲奥娜住院后的一个月内不能见面。 当格兰特再次出现在菲奥娜面前，发现她仿佛忘记格兰特，并且与疗养院其中一名病人奥布里相爱了。面对这个突如其来的改变，令格兰特不知所措。就在这时候，奥布里离开了疗养院，菲奥娜对此感到十分不安。 格兰特找到了奥布里的妻子，说服她把丈夫送回疗养院，可是奥布里的妻子玛丽安不愿因高昂住院费用以致失去了现今的房子，房子是她的一切。 但最后玛丽安还是被格兰特的真情打动，不忍妻子心疼的格兰特把奥布里重新带回疗养院，菲奥娜的反应却使格兰特惊讶极了……
◎5.6▶天才计划
机械天才蒂姆·詹金（丹尼尔·雷德克里夫 饰）搭档好兄弟史蒂芬·李（丹尼尔·韦伯 饰）秘密组建越狱行动队，上演了一场令人窒息步步惊心的精巧越狱大秀。面对冷血狱警的无理压迫，看行动队如何摆脱404天牢狱之灾，如何冲破15道自由之门，手握天才之钥密室逃生。
◎3.7▶岁月自珍
故事设定在虚构的近未来日本。日本政府推出”75岁方案“，为75岁以上的老人提供提前走到人生终点的选择。一位无力负担社会生活压力的高龄女士、一个务实的“75方案”推销员和一名菲律宾劳工面临着生死抉择
◎7.3▶命案
一心帮凤姐化解“死劫”的命理大师（林家栋 饰），因凤姐独自离开而无法阻止她被残杀的命运。正当大师悲痛莫名之际却机缘巧合遇上送错外卖的茶餐厅少东（杨乐文 饰），并挑起了少东与生俱来的杀戮冲动。大师算出少东将会因杀人而犯牢狱之灾，少东害怕再陷囹圄，求大师帮忙改命。曾目睹少东杀猫的老差骨（吴延烨 饰）坚信少东是天生的心理变态，甩不掉嗜血本性，大师却认为既是天生，那错的不是少东，是命运！大师使尽风水术数、中西玄学，但总是人算不如天算，铩羽而归…黔驴技穷之际，老差骨步步进逼、凶手虎视眈眈、还有年轻凤姐（伍咏诗 饰）的致命诱惑，令少东的杀念越加炽烈，执刀就要踏上杀戮之路。而大师也频临精神崩溃，命中注定的大劫将至！ 一切皆是命，半点不由人？
◎7.1▶127小时
英国导演丹尼·鲍耶（Danny Boyle）将为福克斯探照灯公司拍摄《127小时》（127 Hours），该片根据真人真事改编，讲述了美国登山青年阿伦·拉斯顿（Aron Ralston）断臂自救的故事。 2003年5月美国登山爱好者阿伦·拉斯顿在犹他州一座峡谷攀岩时，因 右臂被石头压住被困5天5夜，为了逃生，他强忍剧痛，花了一个多小时的时间，先后将桡骨和尺骨折断，用自己的运动短裤当作临时止血带，然后用小刀从肘部将右前臂硬生生切断。从岩石下脱身后，为了与失血抢时间，他以超人的毅力爬过狭窄和风力强劲的峡谷，缘绳下到60英尺深的谷底，再步行5英里后与营救人员相遇，终于成功生还。
◎7.9▶恩培多克勒之死
The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna. The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator, the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination. Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.
◎8.2▶等待戈多
两个像瘪三一样的流浪汉自始自终在等待一个名叫戈多的人。他们穷愁潦倒，希望戈多的出现能使他们得救。然而戈多自始自终也没有出现。
倒计时
The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R.
◎3.1▶平安之盾
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◎--▶欢迎回家，宝贝
朱迪思是柏林的一名急诊医生。当她从奥地利的一家人那里继承了一栋房子，而这家人正是她在童年时期被送给的收养家庭时，她踏上了揭开自己身世之谜的旅程。然而，这一探寻最终变成了一场噩梦般的探索，不仅揭开了过去的面纱，还深入到了她灵魂深处的黑暗地带。
◎--▶万恶之恶
In detail, The Villain of Villains follows 12-year-old rebellious Stephanie, who dreams of becoming a superhero like her late mother but fails the entrance exam to the Hero School. She gets a second chance if she infiltrates the Villain School to retrieve a powerful artefact that's been stolen. At the Villain School, her loyalty is tested, and her search leads her to the Villai...
◎--▶热血大陈岛
影片以大陈岛垦荒历史为创作底色，在尊重历史真实性的前提下，以年轻化、科技化的光影语言活化红色记忆，生动诠释了“艰苦创业、奋发图强、无私奉献、开拓创新”的大陈岛垦荒精神，斩获第五届亚洲国际青年电影展金兰奖“最佳AI影片”等两个奖项。
◎--▶破暗
暂无简介，敬请期待
◎--▶猎虎贰
暂无简介，敬请期待
◎--▶港城大劫案
暂无简介，敬请期待