扫黑

简介：在这部剧集里，获得艾美奖的William H. Macy扮演有六个孩子的单身父亲Frank。他收入不高，整天酗酒，根本不管儿女们的死活，不到20岁的大女儿Fiona（Emmy Rossum）不得不承担起照顾五个弟妹以及养家糊口的责任。

简介：

　　新加坡本地导演罗胜的女性复仇情色电影三部曲中的第二部，延续重口味，激情与血腥程度不算惊人，却也足以形成话题。
　　妓女米亚（陈姿邑饰）被烧腊店老板全（冯推守饰）赎身后以身相许，但两人之间日久激情不再。看着米亚招惹前来吃烧腊饭的熟客似“眼睛吃冰淇淋”，因为性无能而无法渲泄的全，越发愤怒。米亚办理母亲的丧事时认识了年轻棺材佬（伍洛毅饰），逐渐开始在情郎身上寻求慰藉……

简介：天赋异禀的结巴少年“秦风”警校落榜，被姥姥遣送泰国找远房表舅——号称“唐人街第一神探”，实则“猥琐”大叔的“唐仁”散心。不想一夜花天酒地后，唐仁沦为离奇凶案嫌疑人，不得不和秦风亡命天涯…… 穷追不舍的警探——“疯狗”黄兰登；无敌幸运的警察——“草包”坤泰；穷凶极恶、阴差阳错的“匪帮三人组”；高深莫测的“唐人街教父”；“美艳风骚老板娘”……等悉数登场！七天！唐仁、秦风这对“欢喜冤家”、“天作之合”必须取长补短、同仇敌忾！他们能否在躲避警察追捕、匪帮追杀、黑帮围剿的同时，在短短“七天”内，完成找到“失落的黄金”、查明“真凶”、为自己“洗清罪名”这些“逆天”的任务？……

简介：悠斗（向理来饰）是一个个性非常内向的少年，在班级里属于默不作声的那一挂，整日沉浸在自己的世界中。班上新上任的老师青山（盐口量平饰）吸引了悠斗的注意，在不知不觉之中，两人开始了交换日记的举动。虽然不善言辞，但悠斗很擅长用文字倾诉感情，久而久之，悠斗向青山敞开了心扉。　　一天，悠斗因为感冒而没去上学，担心的青山登门探望，两人独处一室，在暧昧的气氛中，青山没能控制住自己的感情，吻了悠斗。青山的吻给悠斗的内心里带来的极大的震撼，他激烈的拒绝了青山的求爱。之后，青山辞去了教师的职务，两人再也没有见过面，一晃眼三年过去。

简介：第一次世界大战中段，战事已经远远波及到法国和比利时。纪录片揭示了前往异国他乡参战的数百万印度、非洲和亚洲的部队和后援团队的故事。

简介：一段奇妙的“哈佛之旅”让金发美女艾丽既得到了法学学位，又收获了甜蜜爱情。毕业之后，艾莉与帅气男友开始筹备他们盛大浪漫的婚礼。为了让她最亲密的朋友小狗分享幸福，艾丽准备“邀请”它的父母一同参加婚礼。然而，此时此刻小狗的父母却被关在一个化妆品公司的实验室里，等待命运的审判。这件事激起了艾丽对于动物权利保护的意识。为了她的小狗朋友，也为了更多可爱的小生灵，天真的艾丽只身前往华盛顿，想向政府提交一份保护动物的议案，并希望国会能颁布法律保护动物。正当艾丽孤身一人，无计可施的时候，她幸运地遇到了认识好多上层人士的公寓看门人希德尼。在希德尼的热心帮助下，艾丽正一步步向自己的目标迈进……

简介：故事讲述了围绕著朝鲜时代，历史中没有记录的一夜中，国王护卫「名剑手」金浩与谋反武士之间惊心动魄的对决。

简介：一个上海姑娘顾晓霖来到鄱阳湖小岛，她说来拜访一位女知青，在这里教了一辈子书的刘老师。实际上她是来凭吊大学时的恋人潘岳，也就是刘老师的儿子，当年因为毕业时潘岳要回到这里，他们才分手的。 自从唯一的儿子死后，刘老师就一病不起，已经好久没来学校上课了。县里曾派过几个老师来这里，但都因条件太苦而先后离去。村长骗她留下来等刘老师，顺便代课，好应付县教委检查农村教育工作的事。她的留下使学校终于开课了。在代课的这段时间里，她隐隐地感悟到了潘岳为何放弃都市，放弃爱情的选择，感悟到了他母亲刘老师为何在这里三十多年教书的选择，也理解了孩子们渴望老师，渴望知识的愿望，最终，她选择了成为一名乡村女教师。

简介：一个风雨交加的夜晚，布兰德尔太太维拉回到开诊所的家中，发现丈夫布兰德尔医生被人麻醉在诊所的手术台上，并被切掉了鼻尖。第二天上午，布兰德尔太太到警察局找老同学索菲·弗莱明寻求帮助。索菲正在练习柔道，听说老同学来了马上赶来见她。起初索菲甚至认不出来老朋友了，岁月的沧桑已经彻底改变了维拉的容颜。就在妻子为丈夫奔走时，丈夫却在诊所里与护士鬼混。看在朋友的面子上，索菲答应与维拉的丈夫布兰德尔医生谈谈，但是布兰德尔似乎很郁闷，不愿意交流，也不愿意与警察配合。索菲花费了许多时间，事情却毫无进展。就在索菲与助手离开时，发现布兰德尔的搭档斯戴格曼医生正与护士争吵着什么。当晚，护士在诊所里被人杀害。索菲和她的助手塞勃斯丁正式接手此案，开始深入调查布兰德尔的整形外科诊所。他们发现这里并非常人所想象的那样。布兰德尔和他的搭档斯戴格曼医生都似乎想隐藏什么。索菲心生一计，利用她和维拉是老同学的关系，找到维拉，与她拉家常，回忆过去，唤起维拉的兴致。两人又在索菲家彻夜狂欢，使维拉完全信任了老同学。通过维拉的述说，侦探们慢慢地了解了一些情况，为破案提供了极大的帮助。索菲又来到斯戴格曼以前工作的医院，从护士口中了解到一些情况。塞勃斯丁也同时出击，四处寻找与布兰德尔和整形诊所有关的线索。又一个夜晚，凶手再度动手。他击倒布兰德尔，刺伤他的大腿，正准备割下他的耳朵，一直在暗中跟踪的索菲等人突然冲出来。歹徒逃进树林，警察追了一阵没有追到。就在索菲拿着手电四处寻找时，歹徒驾车朝她冲来。索菲闪身躲过，歹徒驾车逃走。此时，警察们已经深信这一系列案件都是艾斯霍夫所为。他们当即来到艾斯霍夫的家。同一敲门，屋内的灯马上熄灭。他们砸开窗户闯了进去，发现屋内已经空无一人。正当他们在地下室搜索时，有人躲在暗处朝他们开枪，并持刀挟持了索菲。关键时刻，另一名警察从侧面迂回，一枪击毙了艾斯霍夫。可是，索菲从艾斯霍夫夫人的口中得知，杀死护士的凶手并非艾斯霍夫。于是警察们展开了更加深入的调查。众多证人提供了有关的情况，索菲也与维拉进行了一次长谈。索菲接到一个电话。正在索菲通话时，凶手举着刀来到她的身边…

简介：冬天，小白兔在雪地里找到两个萝卜 ，自己吃了一个小的，决定把大的送给小鹿。小鹿不在家，小白兔把萝卜放下就走了。小鹿回家看见桌上放着一个大萝卜，感到很奇怪，刚想吃时 ，想到小熊可能没有东西吃，就抱着萝卜来到小熊家，小熊出去了，它就把萝卜放在小熊的床上。小熊回来见到它最爱吃的萝卜，高兴得又蹦又跳 。忽然，它从窗户里看到小猴的家。 心想，天这么冷，小猴也许找不到吃的东西，就把萝卜送到小猴家，小猴也不在家，小熊便坐在门口等，等了 好久就睡着了。小猴回来见小熊坐在 门口打盹，就去逗它。小熊醒后，说是送萝卜来的，小猴不肯接受，它俩推来推去，最后决定把萝卜送给小白兔。小白兔一看，这就是自己送给小鹿的那个大萝卜，萝卜又回来了。于是它建议，请小鹿也来，把大萝卜切成四块，四个好朋友一起吃。大家团聚在一起，唱起欢乐的歌。本片于1960年获第十二届卡罗维发利国际电影节动画片荣誉奖。

简介：卡车数量在增长，事故频率也随之攀升。安全问题促使卡车的技术革新。本片讲述了制造商为改善卡车安全问题所做的开发和创新，展示了一辆新卡车的制造过程。我们还将见证瑞典实验室内进行的一场激动人心的卡车碰撞测试！

简介：The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.