血色侦程1983

　　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.

　　A lone, medieval knight follows a mysterious woman to a forbidden realm to help her steal the power of the gods.

　　由于被陷害参与暗杀，失落的忍者家族必须以自己的方式对抗地下核掩体中的超自然强敌——变异者和食人僵尸。　　被围困在地下千尺，忍者们将直面地狱...

　　2005年美国惊悚大片，本片讲述了一个职业蛇头Maklovsky（Eric Roberts饰）的犯罪故事，他试图帮助一对俄国人偷渡到美国，然而计划破产。洛杉矶警察局局长Michael March（Gary Busey饰）正在调查一宗邮包炸弹的案件，此名邮包炸弹杀手破坏了该城平静的生活，有证据显示Maklovsky就是此名杀手，而特立独行的墨西哥警官也涉嫌参与其中……影片对美国司法界的黑暗面做了一定程度的犀利揭露，有着和《忠奸人》一样是非难辨、黑白不分的剧情和角色。号称和阿尔帕西诺一样深邃有型的美国性格男星，也是经典绿叶男配角Gary Busey在此片中联合曾被奥斯卡两度题名影帝的Eric Roberts在此片中上演了一幕幕错综复杂的警匪交战的戏码，两个老戏骨之间的较量势必让影片的表演增色不少。

　　本作の主人公は、植木屋で働き、いつも雑誌の切り抜きをポケットに入れて1人で妄想している変わり者・大島杜和（とわ）。彼はコンビニで働く上尾園子に恋をし、彼女と話すために店から木の葉で道を作っておびき寄せようとする。その道をたどってきた園子もまた、廃工場で暮らして奇妙な生き物の彫刻を作っている変わり者。劇中では、周りになじめない彼らが2人だけの世界を作り、仲を深めていくさまが描かれる。

　　在蒙特利尔私立高中读书的列昂•布隆斯泰恩认为自己是俄国革命家托洛茨基转世重生，相信此生要和前世一样干一番革命事业。他眼下的问题是要找到列宁，以及一个能当自己妻子的年长女性。
　　列昂在父亲经营的工厂里组织罢工，结果被罚转入了公立学校。他在那里遇到了一个独裁校长。列昂不满学校的教育方式，他要在学校里掀起革命……

　　广濑由美（后藤久美子 饰）被确诊患上了白血病，只剩下半年的生命了。母亲友子（三田佳子 饰）为了能够让由美在幸福中走完一生，于是拜托由美非常仰慕的大学男子上条明（仲村亨 饰），希望他能够以恋人的身份陪伴在由美的身边。
　　夏天来临之际，病情一直很平稳的由美，晕倒在了学校里，此时的上条恰恰好不在她的身旁。之后，由美休了学，决定前往轻井泽疗养。本来只是为了完成任务的上条，在和由美的相处之中渐渐的真心爱上了这个单纯烂漫的可怜女孩，但这段感情注定是绝望的，要以死亡来做句读。

　　已經隱退江湖的女歌手Angela Arden（Charles Busch飾）擁有一個不正常的家庭，大兒子Lance（Stark Sands飾）是同性戀，常常為自己起伏不定的情緒所困。小女兒Edith（Natasha Lyonne飾）則從心底蔑視母親，只與父親親近。
　　Angela如同坐監般的婚姻生活使她鬱鬱寡歡，她想要重新握起麥克風，但她的老公——電影製片人Sol Sussman（Philip Baker Hall飾）想盡辦法阻止她。他憎惡她，在得知她與落魄失意的男演員，「小白臉」Tony Parker（Jason Priestley飾）有染後，切斷她的一切經濟來源，不准她重回歌壇，并拒絕離婚。Sol對待兒子Lance的冰冷強硬態度也讓Angela下定決心毒殺他。
　　Edith不相信父親死於心臟病發，她要求Lance和她一起找出母親蓄意謀殺的證據，但Lance深深愛著母親，陷入了兩難。而另一邊，母親的情人Tony Parker刻意接近兄妹倆，迅速俘獲了他們的心，並使兩人爭風吃醋大打出手。Tony的真實身份是什麽呢？
　　隨著調查的深入，最後的真相卻出人意料。陰謀的背後竟牽扯出一樁陳年舊案——當年Angela殺死姊姊Barbara并取代她的身份，一雙兒女其實是姊姊的孩子。而已經死去的Sol居然再度露面，企圖殺死Angela......
　　由Charles Busch於1999年撰寫并主演的同名舞台劇改編，導演Mark Rucker憑藉「Die, Mommie, Die」獲得了2003年Sundance Film Festival的特別評審獎。

　　33岁的安德烈斯已经在柏林生活了10年。他返回智利想对过去做个了结，却在朋友的生日宴会上，重新发现了遗留下的美好世界——包括他的情人……

当另一个女人出现时，一对年轻夫妇摇摇欲坠的婚姻变得更加混乱。但是当两个女人相爱时会发生什么？

　　与因事故而行动不便的儿子一同生活的葬礼师“成吉”与搬到隔壁的母女相遇后，逐渐找回被遗忘的希望的故事。在第53届休斯敦国际电影节上获得了相当于最佳外语片奖的白金奖，被誉为“蕴含着丧失和痛苦以及死亡中间的灵魂那令人心痛的共鸣”。

　　阿伊莎（雷亚·查克雷伯蒂 Rhea Chakraborty 饰）是一位小有所成的畅销书作者，虽然在事业上取得了不菲的成就，但曾经经历过一段失败感情的她至今都没有走出阴影。某日，阿伊莎登上了前往新德里的火车，在那里，她要举办一场签售会。在火车上，阿伊莎邂逅了一一位带着孩子的女子，让阿伊莎感到震惊的是，这个女人不是别人，竟然正是自己的前男友德夫妻子，得知了这一信息的阿伊莎崩溃了。
　　本来以为早已经尘封的记忆突然间变得鲜活起来，过去的一幕幕像放电影一样在阿伊莎的脑海里呈现。这两个人之间到底发生了怎样的故事以至于阿伊莎这样的久久无法忘怀呢？