简介：一个人的朝圣

简介：黑夜，天神宙斯召见海神波塞冬，称其子偷了闪电火，要挟他若不尽快找回，必将开战。现实中，波塞冬与人妻萨利之子波西杰克逊（罗根•勒曼 Logan Lerman 饰）是个大学生，17岁的他可以在水下呆7分钟，但对老师关于莎翁的提问不感兴趣。参观博物馆时，他遇到了摇着轮椅的人马老师（皮尔斯•布鲁斯南 Pierce Brosnan 饰）。而文学老师却变身成了复仇女神，向他逼问闪电火的下落。幸好人马教授和羊男朋友及时赶到，化险为夷。他们带波西来到营地，训练波西，他们找来了一个女战士安娜贝斯（亚历山德拉•达达里奥 Alexandra Daddario饰）与之比武。落败后，触水的波西被激活了潜能，成为奋勇无敌的战士，并开始踏上了追寻闪电火的英雄之旅。面对蛇女美杜莎等神怪的攻击，冥王冥后珀尔赛弗涅的刁难，他的自我救赎只剩下10天……

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简介：布里切特·琼斯（蕾妮·泽尔维格 Renée Zellweger 饰）偶然邂逅了帅气的亿万富翁杰克（帕特里克·德姆西 Patrick Dempsey 饰），同时，与她有着复杂情史的达西先生（柯林·费尔斯 Colin Firth 饰）也重新回她的身边。两个完美男人同时闯入布里切特的生活，并且给她带来了一个巨大的“惊喜”，让她深陷甜蜜的烦恼之中。而布里切特的真命天子究竟是谁呢？

简介：故事发生在十九世纪八十年代，自小生长在丛林之中的泰山（亚历山大·斯卡斯加德 Alexander Skarsgård 饰）早已经离开了刚果，回归了人类社会。他同心爱的珍（玛歌特·罗比 Margot Robbie 饰）结婚成家，在英国伦敦过着幸福美满的生活。　　某日，被委任为商务密使的泰山回到了他的老家——刚果丛林，然而，此时的他并不知道，自己在一开始，就落入了邪恶而又狡猾的比利时军官罗姆（克里斯托弗·瓦尔兹 Christoph Waltz 饰）一手策划的阴谋之中。如此一来，不仅仅是泰山，就连珍和他的朋友们亦身处危险之中，泰山能否找回曾经矫健的身手和肆意的野性，将企图伤害他至爱之人的敌人们消灭殆尽呢？

简介：故事发生在英格兰北部的纽卡斯尔，因为遭遇了次贷危机，瑞奇（克里斯·希钦 Kris Hitchen 饰）不仅丢掉了工作，还背负上了巨额的债务。为了维持生计，瑞奇贷款买了一辆小货车，准备靠送货来开启事业的第二春，哪知道他这一没有经过思考的举动给整个家庭都带来了无法挽回的伤害 。　　瑞奇的妻子艾比（黛比·哈尼伍德 Debbie Honeywood 饰）是一名家政工，专门为残疾人和老人服务，如今，她不得不依靠公交车往返于不同的雇主家中，这令她感到非常的疲惫。为了偿还货车的贷款，瑞奇不得不将更多的时间花费在工作上，这令他们的大儿子塞布（瑞斯·斯通 Rhys Stone 饰）感到备受冷落。

简介：◎简　　介　　以扣人心弦的笔法诉说身兼小偷、人质狭持者、精神病与游民等多重身份的男子史都华一生的故事。除了描绘他前科累累、放荡不羈的鲜活人生，也藉此带出了英国下层社会有关暴力、毒品、监狱与犯罪等令人震撼的面貌，以极度真实而又几近残酷的写实手法，刻画出史都华失败潦倒的一生。但令人惊喜的是，作者与史都华都未以悲伤或自怜的口气来诉说哀伤的生命片段，反而能以充满趣味的口吻娓娓道来，使得整本书在浓鬱的哀愁中，却洋溢著活泼生动的韵律，是这部作品最奇特、也最具吸引力的地方。　　获奖：2008年英国电影学院奖提名最佳男演员

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一系列看上去似乎毫无关联的犯罪事件从西藏延伸至印度再到德国。夏洛克·福尔摩斯已经离开两年了，但一些人不太确信他已经死了……

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After receiving a marriage ultimatum from a woman he's not sure he truly loves, Rob is up against the clock to realise he should stop looking for the fabled 'Miss Right' and learn to see what's right in front of him.

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A magnetic force pulls a small plane into the bermuda triangle, now a group of friends find themselves stalked by a beast.. in the clouds.

简介：洪水泛滥将低地吞噬，城市毁灭，恍若末世来临。天昏地暗之际，被命名为泽布的宝宝在混乱中降生。年轻夫妇小心呵护他们的新生儿，紧急开车前往北方山丘上家人的住屋避难。然而，安稳的日子稍纵即逝，物粮渐渐短缺，公婆与丈夫企图开车往外觅食，独留母子看家。一场不可挽回的悲剧，让年轻夫妻失散，迫使妻子独自抱着襁褓中的婴儿找寻漫漫出路。

简介：变装皇后Jules遭遇了一次屈辱的反同攻击，人生和事业都被毁掉。而此后，他在同志桑拿遇到了那群攻击者中的一个——深柜Preston。此后，Jules获得了复仇的机会，服装打扮变成男人模样的他相信Preston认不出来自己，于是在搜索了“如何曝光深柜”之后，他慢慢接近对方，开始了一场危险的引诱行动，发现和反击的危险如影随形。

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An ancient cult embroiled in a sinister blood trade makes the deadly mistake of abducting a young woman with a violent, shocking past.

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拜伦斯（玛莎·亨特 Martita Hunt 饰）是曼斯特男爵（David Peel 饰）的母亲，而曼斯特男爵还有着另外一重身份——恐怖邪恶的吸血鬼德古拉。在参透了儿子难移的残暴嗜血本性之后，拜伦斯决定将自己的儿子禁锢起来，以避免他伤害更多无辜的人。                                                                      　　然而，美丽单纯的少女玛丽安（伊冯娜·蒙洛尔 Yvonne Monlaur 饰）却在误打误撞之中解除了德古拉的封印，使得吸血鬼再临人间。德古拉自然不会放过这难能可贵的作恶机会，他专门挑年轻貌美的女学生下手，一时间无数年轻的生命遭了殃，沦为了同样不老不死的存在。一如既往的，当德古拉作恶之时，就是吸血鬼猎人范海辛（彼得·库欣 Peter Cushing 饰）出场之日。

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In 2030 during World War III in which a small group of survivors make it into a bunker. Two years later they have to exit to find new supplies, but they are greeted by dinosaur predators.

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2004年12月24日平安夜，一个出生刚不久的女婴被遗弃在红宝石路教堂外的雪地上。寄宿家庭的负责人卡拉收养了她，并给她起名露比。                                                                      　　2023年12月24日圣诞前夕，露比发现暂时寄养在她家的婴儿露露贝尔居然被地精偷走。为了追回婴儿，露比再次偶遇了身手敏捷、淘气机敏的神秘男人“博士”。弃儿身世极其相似的时间领主与女孩，博士与露比展开了新的冒险……

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7岁的威廉收到一个圣诞节礼物——天鹅绒兔子玩具，他们成了终身相伴的朋友，也在不经意间开启了魔法世界的大门。

简介：Another of Mike Leigh's efforts in the Play for Today series. Home Sweet Home is the he tragic-comic tale of a lonely postman, the social workers who chivvy him about his estranged teenage daughter, and his secret affairs with the wives of his fellow postmen. "Though the social and economic situations of Leigh's characters are invariably specified, they are not determinative. In his view, institutions don't cause our problems and institutions cannot solve them. Nothing beyond the structure of our own thoughts and emotions can be blamed for our predicament and nothing outside of ourselves can remedy it. The poorest of Leigh's characters could win the lottery, or the richest be forced out onto the streets, without their basic dramatic problems changing. One only has to compare Ken Loach's Ladybird, Ladybird with Leigh's Home Sweet Home or his short, Probation, for the difference between the two viewpoints to be clear. Whereas Loach mounts an institutional critique, the social systems and bureaucracies in Leigh's work are only individuals writ large. Home Sweet Home dramatizes the relationship of two social workers, Dave and Melody, to a client, Stan, and his daughter Tina, but for Leigh the social workers are ultimately just messed-up people. One might say that while Loach looks at the effect, Leigh studies the cause. Loach studies bureaucracies; Leigh examines the individual qualities that make bureaucracies the way they are. The main characters in Ladybird, Ladybird are victims of a social agency's depersonalizing understandings. Leigh refuses to make Stan and Tina victims of anybody or anything. Home Sweet Home makes clear that, even if all of the social workers were to disappear from the universe, Stan and Tina's relationship would not improve one whit (and in fact would very likely get worse, since in the absence of a pushy, intrusive, boorish Melody, Tina would get no visits or trips home at all). There is an ultimate fairness in Leigh's view of life. We get what we are. Nothing is inflicted on us (just as nothing outside of ourselves can save us). We create our own problems and we ourselves must solve them. It would be hard to imagine a view of experience more at odds with the blame-games played by most cultural studies critics. Leigh's characters can never blame anything or anyone–least of all "the system." External forces (figured by ever fashionable ideological concepts like "power," "gender," and "class") have no ultimate authority over what we are. We are responsible for our own fates. The enemy, if there is an enemy, is inside. Odd as it may sound to say it, the writers on cultural studies and neo-Marxist filmmakers like Loach are actually more optimistic than Leigh, for while the social-work bureaucracy (Loach's target) may conceivably be reformed, the human heart and mind (Leigh's subjects) are all too deplorably (and exultantly) what they are for all eternity. I would argue that the institutional critique is in fact the simpler, more superficial, and more naive way of understanding these situations. The labyrinths of the human heart are far more tortuous and Byzantine than the corridors of power that constitute the welfare system. The bureaucracies of the imagination are far subtler and more insidious than those of any man-made institution. And if you say you don't see that or don't understand how that could possibly be, why that is precisely what a work like Home Sweet Home exists to show...." –Excerpted from Ray Carney, "The Films of Mike Leigh: Embracing the World "

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