故事发生在宋朝末年，王员外富丽堂皇的府上正在进行一场荒淫无度的宴会，宴会的主角是一位名叫朱尔旦（林伟健 饰）的男子，王员外派出了自己性感美艳的小老婆如意（钟甄 饰）对朱尔旦百般挑逗。朱尔旦虽然极力抗拒却还是欲罢不能，又因为自身的缺陷而遭到了躲在暗处的王员外的无情嘲笑。不仅如此，王员外还让朱尔旦前往山神庙，将庙内的神像偷来，向来懦弱胆小的朱尔旦只能应允。                                    
                               　　在运送神像的过程中，朱尔旦一不小心跌碎了神像手中的生死簿，引得附在神像上的神灵陆判（徐锦江 饰）现身，陆判不仅修复了朱尔旦生理上的缺陷，还答应帮助他向一直压迫他的王员外复仇。

《香港奇案之五：姦魔》由桂治洪與牟敦芾聯合執導，對犯案者的心理描寫細膩之餘，還加插了不少戲劇效果，令感染力大增。本片分為兩個獨立單元，「姦魔」描寫犯下多宗強姦案的阿才(顧冠忠 飾)，如何與警方展開一連串心理戰，劇力迫人；另一單元「鎗」講述兩位青年因拾得一枝手鎗而犯下謀殺罪，為了逃避警方的追截而亡命天涯。                        

　　本片是关于20世纪伟大数学家小约翰•福布斯-纳什的人物传记片。
　　小约翰•福布斯-纳什（拉塞尔•克劳）在念研究生时，便发表了著名的博弈理论，该理论虽只有短短26页，却在经济、军事等领域产生了深远的影响。但就在小约翰•福布斯-纳什蜚声国际时，他的出众直觉因为精神分裂症受到困扰，然而这并没阻止他向学术上的最高层进军的步伐，在深爱他的妻子艾丽西亚（珍妮弗•康纳利）的鼓励和帮助下，他走得虽然艰缓，却始终没有停步，而最终，凭借十几年的不懈努力和顽强意志，他如愿以偿。

      一个小岛，复读生的我们的朋友，胎息康熙老家去玩。我们真的是妈妈贤淑不懂事的小时候当过演员等活动。贤淑的岛上的小餐厅，经营和家庭维持生计了。我拒绝为长的岛上隐士一样。

[真人秀《女儿们的男朋友》4位父亲嘉宾将和4位MC在演播室共同观察、讨论嘉宾女儿们和男朋友的真实交往过程。这是第一次父亲全视角观察女儿与男朋友交往的尝试，一次代际恋爱观、择偶观等价值观的碰撞，一次多样态年轻爱情的真实记录。]

　　关于一个被接受特殊训练的被遗弃的种马的故事。村里办一张能在变强隔壁住的红莲。那么，两人的第一天开始，强得1分不一样吧。这种钢铁的附近的一瞬间，他知道的强冲击陷入的是决心离开。向隅精兵强的饥饿中的人有帮助。但其实那老人传说大物黄老人,强黄老人大物特别训练。他强自信。我回村去了。

　3년 내내 돈 주고 몸 주고 마음 줬던 남자친구에게 갑작스런 이별통보. 이별의 아픔을 치유하기 위해 민정은 여행을 떠난다.

道俊的新继母是比自己年轻9岁的美女胜河。道俊无法自控地爱上她，并做梦想要与她做爱。

Ara（河娜京 饰）是某房产公司的的部门经理，她生活富足，开着奔驰车上下班。她风情万种，以勾引他的男性客户签单售房达到销售业绩的目的。Mi-Yeon（郭贤华 饰）挤着公交车上下班，她容貌漂亮、身材火辣，刚到公司就被男同事围了，但她却讨厌那些粗鲁的直视她身体的男人们。Ara性格偏执，对追求她的男友不温不火，指责有加，继续勾引男性客户取乐。Mi发现有人在街对面的房子监视她，这让她觉得被撩起了并且暴露的更多...

白头神探的儿子小弗兰克（连姆·尼森 Liam Neeson 饰）即将上演最无厘头的一次“营救”行动。

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

这是一部人和智能手机的故事。故事发生在一个夜晚、一台车内，是由一个演员支撑全片的独角戏：离婚后的老吴为打发时间成了一名“网约车”司机，这天晚上意外在车上捡到一部智能手机，谁知在归还手机的路上，这部手机又此起彼伏的响起，为了查清手机真正的主人，老吴几乎不费吹灰之力便利用手机的“智能”将手机主人变成了一个毫无隐私的透明人，同时在这个过程中他也终于醒悟了自己离婚的真相。

电影制片人詹姆斯（JamesSpader饰）沉迷于性事，在女友凯瑟琳之外尚有不少情人。一次开车回家的路上他与另一辆车相撞，詹姆斯腿部重伤，对面车中的夫妻两人则丈夫死亡妻子海伦（HollyHunter饰）负伤，詹姆斯在报废车场偶遇海伦，两人由此结识，不久海伦带他参观了由医生沃甘主持的撞车活动，这些爱好者热衷用真实的撞车还原某些事故，詹姆斯进入了一个匪夷所思的圈子。沃甘身份神秘，宣扬撞车是释放自我的有效途径，为此不惜以身犯险。随着詹姆斯与沃甘的交往不断加深，两人终于在车上发生了关系，而随后沃甘驾车撞击詹姆斯与凯瑟琳却致使自己死亡。詹姆斯大难不死后又驾驶者一辆废旧汽车撞向了凯瑟琳……本片获1996年加拿大吉尼奖导演奖等多项褒奖。

在伦敦的高级应召女郎的世界，Amoureux Solitaires告诉的法国护送维吉妮，伦敦和鲁伯特的故事，一个人救了被贩卖的女孩-一个现代的爱情故事。背景是倫敦，阿芙皙雅飾演的薇吉妮是應召女郎，她...

影片由四个小故事组成。 　　因为车祸而行动不便的女孩通过短信与一素未谋面的男孩交往甚密，她将自拍发给男孩，并向男孩索要照片，手机嗡嗡的震动着，男孩发给她的照片上，女孩看到的究竟是什么？男孩生来性格内向懦弱，这成为了同学欺负他的最佳理由。一开始只是玩笑般的打闹，但逐渐的，欺负步步升级。男孩忍无可忍，决定冒着极大的危险，通过降头术将欺负他的人一一杀死。一群朋友外出露营，夜里，无聊的他们以讲恐怖故事为消遣，却自己被自己吓到，抢着要睡中间最有安全感的位置。第二天，睡在中间的男孩意外溺水身亡，按照恐怖故事所说的，