西辛3

简介：夜深人静，白日的束缚悄然褪去，是时候迎接真实的自己。在这里，我们为您准备了一场感官的极致盛宴。每一次心跳，都是对寂寞长夜最有力的回击。探索未知，体验前所未有的私密与刺激。别再压抑，点击开启属于你的午夜狂欢。

简介：白素贞遇上书生许仙后结为夫妇，后因白之妖精身份被识破，爱侣分离，引发一段可歌可泣的爱情故事。

简介：民初，山贼横行于中国东北一带。游侠萧凯偶然结识江湖客朱静虚，两人惺惺相惜，结伴来到老龙沟的中元村。凯偕虚投宿客栈，邂逅店东女儿穆翠英。英对凯暗生倾慕，但因凯身份不明，令英存有戒心。村内店商丁四宝勾结贼首洪老大，让山贼在村中大肆搜刮，令村民苦不堪言。凯、虚义抱不平，挺身助村民击退山贼。岂料，和村民友好的新疆马商到访，误会凯为偷马贼，凯、虚无奈离开中元村。洪见时机成熟，率众再袭村民，幸好在千钧一发之际，凯、虚折返，歼灭山贼。

简介：一名曾经炙热的拳击选手（朴成雄饰），在比赛过程中导致对方死亡，在监狱服刑后想要诚实生活；而他的一位朋友（吴代焕饰）却在不择手段地想要获得成功。　　两个男人清算了过去，在过上新生活中，为选择不同道路而萌生了残酷阴谋，也导致了背叛。

简介：

玛丽（桑德拉·布洛克 Sandra Bullock 饰）是一个字谜游戏编撰者，她聪明漂亮却拙于社交，忧心她终身大事的父母一直为她安排各种相亲。本来不抱什么希望的玛丽，面对相亲对象史蒂夫（布莱德利·库珀 Bradley Cooper 饰）的英俊与才情，顿时沦陷。她滔滔不绝地对史蒂夫谈论自己的字谜工作，早觉枯燥的史蒂夫找了借口摆脱了她。玛丽在编撰一个“关于史蒂夫的一切”的字谜时，被上司发现而炒了鱿鱼。但是玛丽却认定了史蒂夫就是自己的灵魂伴侣，于是紧追史蒂夫不放。她在史蒂夫同事的鼓励下，跟随史蒂夫的新闻摄制组周游全国报道新闻。在跟随一次矿井塌陷新闻报道时，玛丽掉进陷塌的矿井中，她意外地发现井底下还遗漏了一个男孩，玛丽想尽各种办法拯救了男孩，并将功劳让给了别人。她的勇敢与智慧获得了史蒂夫的另眼相看，玛丽用她自己独特的方式赢得了大家的喜爱。

简介：尽管此片的女主角是朱丽娅·斯蒂尔斯扮演的傲娇女，但对影迷来说，它却永远保留了一个奇迹：已故著名影星希斯·莱杰，和与之“撞脸”的当红男星约瑟夫·高登·莱维特，同时出现在了这部电影中，究竟谁更帅一点呢？　　比安卡（Larisa Oleynik饰）是全校公认的甜心宝贝，可事实上，她甚至未有过一次约会——比安卡的老爸对女儿的管教极尽苛刻，男生们只能对她望而却步。 　　在女儿的不断抗议下，老爸终于做了“让步”，他声明，比安卡可以约会，只要她的姐姐凯特（Julia Stiles饰）也去。听到这个消息，暗恋比安卡的喀麦隆（Joseph Gordon-Levitt饰）决心无论如何都要找到能和凯特约会的人。千挑万选之下，他找到派特里克（Heath Ledger饰）帮忙。 　　凯特可是人人眼中的怪物啊，仿佛愤世嫉俗般，对任何人和事都有一股不满的情绪。要让约会顺利进行，这是前所未有的挑战，还是一个不可能的任务？

简介：“无论多强的敌人都可以在6秒内击杀他”的天才杀手寓言被BOSS命令去大阪隐居一年，在这期间不可以杀害任何人。于是他化名为佐藤明，与伪装成自己妹妹的拍档佐藤洋子移居大阪，在那里他遇见了清水岬，开始了普通人的生活。

简介：乔治贝里从小生活在贝福镇，他一直希望能离开这土生土长的地方，去看看外面新奇的世界并闯出一番事业。但每次当他打算离开时，小镇总是会发生一些意外的危机，使得他无法抽身，不得不留下来。乔治贝里扛下父亲的遗志，经营借贷事业，一生困在小镇帮助穷苦大众，在小镇中乔治贝里广受欢迎，帮助无数镇民度过生活难关，他将他的一生都给予了这个小镇。在一次圣诞夜的意外灾难中，他多年的奋斗一夕化为乌有，这个好人终于崩溃了，在这一年的圣诞夜，他决定放弃他的人生……然而，天使却下凡重建他对生命的信心，生命仍是如此美好……

简介：

为人好吃懒做的阿鸡（吴镇宇）虽挂名某家大公司某部门的经理，但终日并无事情可忙，他凭借满脑鬼主意，与在自己手下打杂的好兄弟阿九（林子聪）过着浑噩的撞钟日子。公司因经济不景气决定裁员，方式竟是比拼才艺。阿鸡和阿九无专长可施，愁眉之际得舅公（黄秋生）指点，恍惚记起自己是舞狮世家之后，决定表演日渐无人问津的舞狮。但公司没等到两人大展身手已经关门大吉。 　　阿鸡与阿九垂头丧气坐立街头，硕大的狮头引起路人侧目。在路人钱财的鼓动下，两人舞动狮头，正酣之时，警察过来阻挠，双方发生激烈争吵，引来媒体关注。不想此事令港人重对舞狮发生兴趣，阿鸡与阿九成为名人。阿鸡姐姐（毛舜筠）是天生生意人，见舞狮有利可图，也着手去做，他人更是在利益诱惑下趋之若鹜。眼见这一切，舅公叹气摇头。

简介：

她绣的龙袍巧夺天工，却引来祸事不断！

简介：苏格兰黑帮领袖保罗·菲尔斯的生平故事。

简介：Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.