剧情简介
李志超（周润发）与周强（狄龙）乃一对任职警界多年的好朋友。十年前，名媛强与搭档将毒贩姚达（徐少强）绳之于法。达甫出狱即向强之拍档下毒手，名媛强也不能幸免，先是遭受纪律处分，后更被杀手伏击。强虽然侥幸逃脱，但家人却难逃厄运。超本替强出头，向达提出希望二人之间可以大事化小。但经此一 役，加上发现自己爱上的女人Penny（恬妞）原来是达的女朋友。超体会到一定要因人而仁，因人而暴，绝不可墨守成规，遂决定与强一起找达报仇...
名媛望族粤语
李志超（周润发）与周强（狄龙）乃一对任职警界多年的好朋友。十年前，名媛强与搭档将毒贩姚达（徐少强）绳之于法。达甫出狱即向强之拍档下毒手，名媛强也不能幸免，先是遭受纪律处分，后更被杀手伏击。强虽然侥幸逃脱，但家人却难逃厄运。超本替强出头，向达提出希望二人之间可以大事化小。但经此一 役，加上发现自己爱上的女人Penny（恬妞）原来是达的女朋友。超体会到一定要因人而仁，因人而暴，绝不可墨守成规，遂决定与强一起找达报仇...
查理派克
回复 :故事发生在虚拟的特丹尔国，国际保镖高天保护雇主薛烽前往特丹尔国进行商务洽谈，在路途上遭到恐怖分子的袭击，最后在中国女孩沈月以及导游费尔南德和特种兵阿尼尔的帮助下解救人质，打击罪恶并捍卫同胞的生命以及尊严的故事。生命与守护的抉择，传达出主人公心系民族命运的情感。通过职责与内心正义的碰撞，表达出邪不压正，正义永存的理念。
徐若萱
回复 :1590年初，在统治者织田信长去世后，土地被丰臣秀吉接管。远在东部平原，一个名为“天茂”的神秘反叛者正在与其骷髅军团进行内战。在平原地区的一天，一个独行侠“雾丸”被骷髅军团追捕，走投无路。他被一群流浪者和“舍之介”拯救。雾丸在打斗中受伤，被带到附近的“无界”村庄。无界是首都和东部平原之间的邮政中转。这是个忙碌的村庄，对任何人都开放。该村庄由艺伎“极乐太夫”和“无界屋蘭兵卫”管理，还有一个名为“狸穴二郎”的浪人武士。当舍之介, 狸穴二郎和无界屋蘭兵卫都聚集在村中时，一个奇怪的时刻到来，似乎暗示着他们之间的某种渊源。它们背后隐藏着什么样的关系？这场内战将如何解开？
后舍男生
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
