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导演：
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Edward L. Cahn
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Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH). As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don't go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point: "IT!' has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome. For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black & white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's "It's a Good Life")? The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!) Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. This film's story is not really totally original (what is?), for it is based on A.E. Van Vogt's "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from. As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.
导演：
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木村尚
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樱町中央署刑事课的王牌莲见光辅（滨田岳 饰），听到可疑男子拒绝询问并逃走的消息后，立刻赶到现场。冷静地说服挟持人质的男子，让他投降只差一口气了…就在这时，突然，穿着双排扣西装戴着墨镜的黑社会打扮的男子闯入！用熟练的动作制服了可疑人员。瞬间平息事态的这个男子，正是调到刑事科的架川英儿（西岛秀俊 饰）。他是从本厅的组织犯罪对策部，也就是所谓的“丸暴（“暴力团对策搜查官”的俗称）”中调离的刑警大叔…。就在这时，发生了在大学教授家工作的女管家被刺杀的事件。英儿和光辅组成搭档展开调查，在一起调查的过程中，英儿对一切都很完美的光辅产生了违和感…！？在这样的情况下，2人开始关照新上任的刑警水木直央（上白石萌歌 饰），但实际上直央是警视厅副总监的女儿——！？
导演：
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Fabien Cavacas,Camille Melvil
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Lucas is 22. He plays soccer with his local club, lives with his parents with his younger brother Théo, 17. Théo is attracted to boys, and has only confided in his brother. Théo's difference from others forces him to live a secret life. One evening, spurred on by his need for affection he decides to meet up with an older man at a local hotel.
导演：
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德里克·斯安弗朗斯
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浪荡神秘的摩托车手卢克（瑞恩·高斯林 Ryan Gosling 饰）在嘉年华会的表演场上与旧时情人罗蜜尼亚（伊娃·门德斯 Eva Mendes 饰）意外重逢。卢克迫切地希望与罗蜜尼亚重修旧好，却惊讶地发现罗蜜尼亚不仅已经与另一个男人同居，并且自己与罗蜜尼亚还育有一个襁褓中的儿子。于是原本打算离开的卢克一厢情愿为了照顾儿子和罗蜜尼亚留在了这个小镇。为了弥补内心对儿子的愧疚，卢克决定和偶然相识的一位小镇上的男人去抢银行。在最后一次行动中，卢克遭遇了年轻巡警艾弗瑞（布莱德利·库珀 Bradley Cooper 饰）的围堵。年轻的艾弗瑞拥有一个爱他的妻子和同样在襁褓中的儿子。卢克和艾弗瑞，两个身份迥异的男人看上去本是毫无联系，可是他们谁也没有想到因为这起抢劫案，他们之间已经发生的千丝万缕的联系。
导演：
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田中光敏
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三浦春馬全身心投入、主演映画「天外者」，是以不为人知的伟人·五代友厚为主人公的原创故事。从动荡的幕末到明治初期，为了日本的未来而奔走的男人五代友厚，是个拥有武士灵魂和商人才能的男人，从萨摩藩士到明治政府官员，成为实业家，奠定了继今天之后的商业都市大阪的基础。 三浦春馬饰演拥有压倒性的热情，大胆的构思和行动力，冷静又温柔的五代友厚。虽然他取得了被誉为东之涩泽荣一、西之五代友厚的功绩，但却长期埋没在历史中。近年来，通过许多人的研究，重新认识了其真正价值。“不需要名字，只是向着未来…”一个劲地朝着伟大目标前进的志向和热情，在超越时代的现在，被解放了。 该作品的企划于2013年开始。为了将五代友厚的“想法”和“志向”传承给下一代，以制作总指挥广田稔为首，市民有志创立的“五代友厚计划”为电影化而竭尽全力。此外，本剧编剧·小松江里子和导演·田中光敏是至今为止共同创作出《去问利久》、《海难1890》的名搭档。为了在现代体现五代友厚的宏大规模，从错综复杂的时代背景和庞大的关联人物中诞生了原创故事。
导演：
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高琮凯,刘瀚洋
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来自“开普敦星球”的外星少女柴小七邂逅患有“下雨天异性失忆症”的霸道总裁方冷，意外丢失信号器滞留地球，为此展开的一段高能爆笑又浪漫的跨星恋故事。 女主柴小七不仅是个外星人，还是个不折不扣的撩汉魔女，一旦吸入地球男性散发的荷尔蒙这种“催情禁药”，就会陷入“花痴状态”，为此遭遇种种妙趣横生又爆笑不断的奇缘，将为观众完美还原花痴少女的撩汉心理；而为了在人类地球生存，柴小七还将利用自己的各种超能力解决一个又一个意外麻烦，有如过山车般的跌宕经历将会令观众大呼过瘾。而男主方冷则是个另类霸道总裁，一到下雨天就会忘记出现在自己身边的异性，为此与女主展开各种“斗智斗勇”的爆笑冤家戏码，高甜浪漫的经历预计将在播出时强势狙击少女心。
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让-吕克·戈达尔
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在一个英语学习班上，法国姑娘奥迪尔（安娜·卡里娜 Anna Karina 饰）认识了两名男子阿瑟和弗朗茨，他们是两个着迷于美式文化的年轻人，向往着惊险的传奇故事。奥迪尔很快就被风流的阿瑟吸引，渐渐地爱上他，他们三人开始常常混在一起，坐在敞篷跑车里兜风。 奥迪尔寄宿在一所豪华大宅里，她告诉弗朗茨，这所屋子里存放着巨额现金。阿瑟和弗朗茨便策划着要入屋行窃，后来奥迪尔想要退缩，然而阿瑟他们坚持要行动，并计划好了具体时间。到了那一天，事情却进行得并不顺利，奥迪尔一而再地要求他们取消行动，但是阿瑟表示明天再来，甚至动手打了奥迪尔。第二次的行动，会带来怎么样的灾难性后果？
导演：
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徐伟光
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清朝年间，武当派弟子卓一航（原文庆 饰）与练霓裳（黄碧仁 饰）相恋，无奈二人不被同门接受遗憾分开，练霓裳一夜白头成为白发魔女。十几年后悔明大师派徒弟杨云聪（秦伟 饰）、楚昭南（沈辉豪 饰）下山对抗清廷。纳兰将军的女儿纳兰明慧（郭淑娴 饰）与白发魔女的徒弟飞红巾哈玛雅（黄嫊芳 饰）都爱上了杨云聪，杨云聪与明慧相爱生下了女儿易兰珠（郭淑娴 饰），但却因身份悬殊而分开。明慧被迫嫁给了多铎王爷，杨云聪跟飞红巾也因误会而决裂，飞红巾也一夜白头，但她却收养了易兰珠。若干年后，楚昭南投靠清廷为非作歹，易兰珠长大成人后也难逃红颜白发的命运，为了对付楚昭南，杨云聪与飞红巾冰释前嫌，二人合力终于铲除了这一武林大害。而卓一航与练霓裳的纠葛也终于结束。 本剧改编自梁羽生的武侠小说《白发魔女传》《塞外奇侠传》和《七剑下天山》。