亲爱的你

　　因一起入室盗窃案，小警察仓桥诚一（大坂俊介 饰）结识了带有几分神秘气质的女孩叶室千枝子（西条美咲 饰）。这起案件中，千枝子独独丢失了一本相册，这令她颇为担忧，仓桥则担保为她找回失物。千枝子在日高齿科担任助手工作，她和医生日高长期维持着不伦之恋。不久，相册被送到仓桥手中， 他再次寻找千枝子，却发现这个女孩早已离职。一番追寻，关于千枝子的真实身份渐渐浮出水面……
　　本片根据日本著名官能作家谷崎润一郎的同名小说改编，系该小说发表一百周年纪念作品。此前《白日梦》曾被三次搬上银幕，皆由著名导演武智铁二执导。本片导演之一爱染恭子参与过80版、87版两部的演出。

　　雷宇（王一博 饰）等优秀飞行员经过严苛选拔正式成为试飞员，他们在队长张挺（胡军 饰）的带领下，参与到了最新型战机的试飞。高空之上，发动机骤停甚至失火，飞机失去控制……他们一次次与死神过招，只为获取最极限的数据。随着战机交付日期的临近，任务难度逐渐升级，他们能否凯旋……

　　由米高安德逊导演的本片是部大块头的战争冒险片，描述二次大战期间，德国人已研制成功V2火箭，使用流动发射车,无法定位及摧毁，令盟军大为恐慌。于是,伦敦方面下令，将德国地下工厂兼发射场一举摧毁。一群受过训练的科学家空降欧洲，负责摧毁纳粹的火箭工厂。片中动作场面甚多，具有一定的娱乐性。

　　跟随查尔斯家族的生活，他们处理家族遗产等主题，决定如何处理传家宝，家庭钢琴。

　　故事聚焦一个聋哑家庭中唯一有听觉的高中女孩鲁比，她每天都要帮助父母和哥哥操持渔业生意，在加入高中合唱团后，鲁比对歌唱的热爱打动了合唱团长，团长决定让鲁比在梦想和家族之间做一个选择。

　　在攀登布洛阿特峰后，马切伊·贝尔贝卡意识到自己并未完成这次登顶之旅。25 年后，他重整旗鼓，决心完成未尽的旅程。

　　本剧讲述了来自巴黎问题郊区的三兄弟的故事。苏雷曼是巴黎的一名学业有成的法律系学生。他在一场著名的辩论决赛中遇到了丽萨，辩论的主题是政府对于郊区现状的责任。丹巴是三兄弟中年龄最大的，他在街头混迹，以贩毒为生。他们 15 岁的弟弟努姆克仍在努力寻找自己的出路，他必须决定跟随哪一位兄弟的脚步。一场战斗，一声枪响，一场悲剧。

　　一场战争在乌克兰东部的顿巴斯爆发，由此衍生出军事冲突、犯罪行动以及分裂主义者主导的大肆劫掠。在顿巴斯，战争已是常态，政府宣传自诩真相之源，仇恨变成了爱的方式。走入顿巴斯，就像踏上一场疯狂的旅行，悲剧和荒谬与生死相交织。这并不是一个关于某个地区、某个国家或某种政治体系的故 事，而是展示了一个迷失于谎言与真相，寻找自我身份的失落的世界，这事关我们每一个人。

　　黑帮14K首脑尹志巨（任达华 饰），多年来一路打拼，从最初的帮会小弟到呼风唤雨的大哥，风光背后却又危机重重。他和一众兄弟好友结成七小福，凭借年轻果敢和好勇斗狠在群龙盘踞的弹丸澳门占有一席之地。但江湖一旦涉入，便难在脱身。逐渐爬上顶峰的崩牙巨与另一个强大势力摩罗炳展开连番恶斗，澳门一时间刀光剑影、血雨腥风。两虎相争，必有一伤，澳门江湖第一把交椅引得两派人马血流成河……
　　《濠江风云》又名《驹哥传》，描写的正是在澳门只手遮天的黑帮老大尹国驹，影片投资1400万港元，由尹国驹本人投资拍摄。

　　本片讲述了以陈正伟（陶大宇饰）为首的香港陈氏集团面临接班人选举的时刻，寄予厚望的陈浩宇（民浩饰）却在此时惹了仙人跳团体凌风（梁证嘉饰）和辛云（张已桂饰）；凌风和辛云的羞辱让自尊心强的浩宇想要借机报复，他找到了酒吧老手小小（王一霏饰），让她帮自己。陷害、色情、欢声笑语都成为此次事件的地雷，一触即发。就在浩宇得逞辛云之时，真正的幕后黑手才慢慢出现，原来所有人都是这场争斗中的棋子……

　　在亚玛逊的热带丛林，有一个神秘的食人部落，这里的女人生性*荡粗野，
　　男人则凶暴嗜杀，由酋长里伯暴力统治，他们生吞活食，嗜杀如命，狂情纵欲，
　　这里蕴藏着丰富的天然黄金、钻石，为找到它们，希伯莱海盗格里克，杀人王
　　凯特等疯狂掘金者各自带一队人踏进了恐怖丛林，丛林里各种毒虫猛兽，沼泽
　　遍布，凶险万分。里伯对侵入领土的冒险者愤怒至及，下令格杀勿论，割下一
　　外来人头者在族中奖赏两个美女，当冒险者找到了梦寐以求的财富，而大部分
　　冒险者却成为食人族和猛兽的美餐，这时出现了一个性感的土族女人改变了一
　　切，一场惊心动魄的人兽大战即将展开……

　　Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.
　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).
　　The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.
　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.
　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.
　　Roger Philip Mellor