簡(jiǎn)介：夜深人靜，白日的束縛悄然褪去，是時(shí)候迎接真實(shí)的自己。在這里，我們?yōu)槟鷾蕚淞艘粓?chǎng)感官的極致盛宴。每一次心跳，都是對寂寞長(cháng)夜最有力的回擊。探索未知，體驗前所未有的私密與刺激。別再壓抑，點(diǎn)擊開(kāi)啟屬于你的午夜狂歡。

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阿曼達·塞弗里德、芬·維特洛克、艾米·歐文([捉迷藏])、詹妮弗·卡朋特、保羅·吉亞瑪提將出演新片[如釋重負](A Mouthful Of Air，暫譯)。本片由艾米·科佩爾曼([微笑回應])執導，并改編自自己的同名小說(shuō)，故事講述塞弗里德飾演的新晉媽媽也是兒童書(shū)籍作家朱莉，她逃到她創(chuàng )作的明亮的克雷奧拉彩色世界，以擺脫產(chǎn)后抑郁癥造成的黑暗。維特洛克飾演其丈夫伊桑，歐文飾演其母親，卡朋特將扮演其妯娌，吉亞瑪飾演其醫生。

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一部經(jīng)典的迪士尼動(dòng)畫(huà)片，取材于格林童話(huà)《灰姑娘》。母親的早逝令灰姑娘仙德瑞拉再也感受不到母愛(ài)的溫暖，失去了公主般的童年。后母和她的兩個(gè)女兒，無(wú)時(shí)無(wú)刻不在想方設法折磨仙德瑞拉，給她糟糕的住處、做不完的家務(wù)。幸好得道多助、失道寡助，心地善良的仙德瑞拉結識了一大班朋友，老鼠 、鳥(niǎo)兒、小狗都是守護在她周?chē)睦嫌延洝? 　　王子要在全城尋找王妃，仙德瑞拉用破舊零碎的布料趕做了一件禮服，當然這遠遠比不上心花怒放的姐姐們穿得艷麗。然而，灰姑娘得到了魔法相助，在神奇的法術(shù)中她美得傾城，坐著(zhù)南瓜車(chē)來(lái)到王子的宮殿，與王子翩翩起舞。她知道，法術(shù)會(huì )在12點(diǎn)之前統統消失，大鐘敲響的那一刻，她慌忙逃離王子，情陷已深的王子拿著(zhù)灰姑娘不小心遺下的玻璃鞋，誓要從百萬(wàn)女子中找到一生中的最?lèi)?ài)：仙德瑞拉。

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簡(jiǎn)介：Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...　　　　Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.　　　　Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as Fran?ois Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma fran?ais in 1958.　　　　Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.　　　　Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

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　　供職于投行的初級分析員韓裔青年哈羅德（約翰?趙 John Cho 飾）性格謹慎羞澀，本該放松的周末晚上卻被同事塞了一堆工作。這邊廂，哈羅德的好友卡瑪（卡爾?潘 Kal Penn 飾）又主動(dòng)搞砸了一次醫院面試，這個(gè)出身醫生世家的印裔青年因為不愿放棄毫無(wú)拘束的學(xué)生生活一直逃 避從醫。當晚，哈羅德與卡瑪在吸了一通大麻后倍感饑腸轆轆，電視中來(lái)自“白色城堡”的漢堡廣告引發(fā)了二人極大的興趣，他們驅車(chē)前往，誰(shuí)知本地最近的白色城堡已經(jīng)在四年前轉讓?zhuān)粷h堡勾起食欲的二人決定不顧一切尋找白色城堡，他們?yōu)榇丝缭搅苏麄€(gè)新澤西，這對兒性格迥異的朋友也在一路上體會(huì )到彼此友情的可貴……

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暫無(wú)簡(jiǎn)介

簡(jiǎn)介：《紅磨坊》《了不起的蓋茨比》殿堂級導演巴茲·魯赫曼掌舵，《好萊塢往事》新一代男神奧斯汀·巴特勒，聯(lián)同奧斯卡影帝湯姆·漢克斯，將已故搖滾傳奇天王“貓王”埃爾維斯·普雷斯利（Elvis Presley）的一生，震撼而感動(dòng)地重現大銀幕?！　〖疅o(wú)名鄉村男孩，搖身一變成為叱咤風(fēng)云的搖滾之王，貓王精彩一生，由他站上舞臺那刻展開(kāi)。貓王被經(jīng)理人Tom Parker上校（湯姆·漢克斯 飾）發(fā)崛，助他走上國際巨星之路，但前所未有的名與利，加上社會(huì )與文化變遷，令貓王一度迷失自我，二人在20多年之間發(fā)展出一段充滿(mǎn)矛盾的復雜關(guān)系。這段華麗星途里，貓王也遇上了影響他最深的女人Priscilla Presley（奧利維亞·德容格 飾）。多首經(jīng)典金曲伴著(zhù)懾人舞姿，歌迷影迷無(wú)不著(zhù)迷。

簡(jiǎn)介：Description Biographical movie about the King

簡(jiǎn)介：29歲自稱(chēng)角色作家的小雫，寄住在朋友美雪家。以美雪結婚為契機，雫開(kāi)始了尋找租房之路。但在這節骨眼上，她的全部家當卻被偷了。絕望之際，警察石田向她伸出了援手，她開(kāi)始在兒童福利院里工作。這時(shí)的她偶遇了自己疏遠已久的姐姐。

簡(jiǎn)介：鈴木咲子（西田尚美 飾）是一個(gè)從小對錢(qián)就格外感興趣的女孩，短大畢業(yè)后她閑賦在家，家人一句“既然愛(ài)錢(qián)就去銀行工作”的玩笑話(huà)竟促使她真的去銀行求職。沒(méi)過(guò)多久咲子沮喪地發(fā)現，雖然整日與錢(qián)為伍，但它們全不屬于自己。不久，她所在的銀行遭遇搶劫案，咲子連同500億日元現金被歹徒一并虜去。歹徒的車(chē)子逃入富士樹(shù)海，結果遭遇車(chē)禍引起爆炸，而咲子則和裝滿(mǎn)現金的箱子一同栽入水中。成功獲救的咲子受到英雄般的追捧，那500億巨款也被認為隨同爆炸化作灰燼。然而只有咲子知道，500億日元仍舊沉睡在樹(shù)海的湖底。為了找到失落的巨款，咲子不遺余力，卻無(wú)意中開(kāi)始了一段別樣而多彩的人生……　　本片榮獲第21回日本學(xué)院獎最佳新人獎（西田尚美）。

簡(jiǎn)介：從成功的事業(yè)到出名的壞處，從令人不適的“曲線(xiàn)美”標簽到青少年時(shí)期艱苦的芭蕾歲月，且聽(tīng)米歇拉·吉羅暢談人生百味。