激夜

苦涩之味

　　A former pentathlete is captured by an undead countess and her cursed followers. To survive the deadly hunt, she must reactivate her rusty skills in swimming, running, riding, shooting and fencing. Alongside a dubious yet charming fisherman and a grumpy police officer, she forms a reluctant alliance to increase their chances of survival.

一千灵异夜之厉鬼焚情

分裂: 黑色子弹

　　对警察枪击、种族主义和他们共同的联系进行原始的、毫无歉意的审视。没有说明我们知道答案，但不害怕直接提问。

狼溪2

　　浩瀚无垠的澳洲大陆，壮观绝美的自然风光吸引无数旅者和背包客来到此地一游。可是当他们快乐自在和大自然融为一体的时候，却全然没有意识到危险也在悄然逼近。晴朗明媚的一天，德国小伙鲁特格尔（Philippe Klaus 饰）和女友凯瑟琳娜（Shannon Ashlyn 饰）徒步行走在漫长无边的公路上，他们正前往国家公园，期间扬手搭车，尽享背包客的乐趣。两人你侬我侬，在国家公园的野外支起帐篷，谁知却被冷空无情的米克·泰勒（约翰·贾瑞特 John Jarratt 饰）盯上了。一轮紧张的对话过后，米克出手杀害鲁特格尔，弄晕凯瑟琳娜。当惊恐的女孩从昏迷中醒来时，发现不远处的米克宛如魔鬼一般悠然自得地肢解着她的男友。　　凯瑟琳屏住呼吸落荒而逃，但是残忍的死神怎能容得他的猎物轻易逃脱……

指到谁谁就死

　　故事围绕德克萨斯州小镇上的一群青少年展开，他们在一栋废弃的房子里玩著名的派对游戏 “转酒瓶”，而这个地方曾经发生过非常可怕的事情。

板凳队员

　　园艺工盖斯（罗伯·施奈德 Rob Schneider 饰）、报童克拉克（乔恩·海德 Jon Heder 饰）、音像店职员里奇（大卫·斯派德 David Spade 饰）是3个二十年来从没上过棒球场的废柴，除了盖斯技术还可以外，另外两人则是彻彻底底的运动白痴。他们童年时都饱受其他小孩的欺负，即使成年后情况也没有任何改观。　　盖斯偶然帮助了与他们有着同样经历的小胖子纳尔森，纳尔森的老爹迈尔（Jon Lovitz 饰）是一个坐拥几十亿资产的富豪。为了让儿子在健康快乐的环境中成长，迈尔决定出资帮助三人以及纳尔森组建一支球队进行全国巡回挑战赛，一方面为了打败那些臭名昭著爱欺负人的球队，一方面帮助所有的失败者重拾信心。盖斯等人自此开始全新的人生……

从今天到明天

　　Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.