The gripping true story of a young man’s journey from hero to alleged war criminal, the determined lawyer on his tail, and their search for truth in the fog of war. 　　Anthony Boyle plays the real-life soldier Brian Wood, accused of war crimes in Iraq by the tenacious human rights lawyer Phil Shiner, played by Toby Jones. 　　The two men go head to head in a legal and moral conflict t...

艾迪（尼克·莫伦）思维敏捷，是个玩牌高手。在三个好友的支持下，艾迪携巨资参加了黑社会的高额赌局，不想落入圈套，欠下50万的赌债。为了还清赌债，艾迪和朋友们绞尽脑汁，最终算计到一群毒贩身上，并为打劫购买了两杆老式烟枪。　　不想这群不安分的毒贩，正惦念着他们毒品供应商的钱，并在同一天实施了打劫。在毒贩们费尽周折，把毒品供应商熨的整整齐齐的钱款拿到手后，艾迪他们幸运的坐享其成。可是他们不知道，这看似简单的抢劫案背后，更有厉害的角色参与其中。他们手里的两杆破烟枪也隐藏着不少故事。　　在无知与莽撞中置身漩涡的他们能侥幸脱身么？笑料迭出的偶发事件里，穿插着小人物与大人物的辛酸幽默。

Hopper’s work is the most recognisable art in America – popular, praised, and mysterious. Countless painters, photographers, filmmakers and musicians have been influenced by his art – but who was he, and how did a struggling illustrator create such a bounty of notable work? 　　This new film takes a deep look into Hopper’s art, his life, and his relationships. From his early career...

二次世界大战期间，性格孤傲冷僻，拒人于千里之外的作家爱丽丝（杰玛·阿特登饰）独自隐居在英国南方的海边悬崖旁，苦心钻研以科学理论推翻魔法的存在。某日，一名从伦敦战区避难而来的男孩法兰克（卢卡·斯邦德 饰）闯入她的独居生活，百般不愿的爱丽丝对法兰克极为冷漠、消极，在朝夕相处下，法兰克的天真与单纯却逐渐瓦解爱丽丝封闭的心房，也唤醒她深埋心中的秘密—那年夏天，她与旧情人（古古·姆芭塔-劳 饰）所共度的美好时光……

故事发生在一幢地处偏远的豪华饭店之中，爱丽丝（吉莲·安德森 Gillian Anderson 饰）和亚当（丹尼·戴尔 Danny Dyer 饰）正在进行一场充满了浪漫气息的完美约会，情到浓时，无法自持的两人决定开溜，前往一条荒无人烟的小路。灾难就在此时毫无征兆地降临了，一帮穷凶极恶的歹徒将亚当打到，美丽迷人的爱丽丝在枪支的威胁之下惨遭强暴。 　　这件事情在爱丽丝和亚当的心中留下了深深的阴影，警方的无能给予了两人除了暴力和伤害之外的第三重打击，久久无法释怀的他们决定自己拿起武器，进行复仇。一把枪，一个绝望的男人和一个痛苦的女人，一个正在悄然浮出水面的阴谋，亚当和爱丽丝最终能否寻得他们所谓的正义呢？

　　根据真人经历改编，讲述16岁的杰米想成为一位变装皇后，却因此备受霸凌和歧视，在母亲和好友的支持下，他终于勇敢地去实现梦想。

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. SHIMON@lounge.moviecodec.com

　　年轻的瓦伦汀（詹姆斯·麦卡沃伊 James McAvoy 饰）应聘成为大文豪列夫·托尔斯泰（克里斯托弗·普卢默 Christopher Plummer 饰）的秘书和助手，目睹了晚年文豪和他妻子索菲娅（海伦·米伦 Helen Mirren 饰）之间爱恨交织的深刻情感。托尔斯泰不满索菲娅奢侈的生活习惯，索菲娅则看不惯托尔斯泰和“激进派”弟子弗拉基米尔·切科夫（保罗·吉亚玛提 Paul Giamatti 饰）的合作，围绕着托尔斯泰，两度力量始终较劲，瓦伦汀也被牵扯进去，分别为索菲娅和切科夫写日记，记录托翁晚年生活，同时也和托翁崇拜者玛莎（凯瑞·康顿 Kerry Condon 饰）产生了感情。疲惫的托尔斯泰终于选择离家出走，弥留在最后的车站，而索菲娅和切科夫的斗争直到最后一刻都未止息……

　　《一仆二主》由理查德·比恩（Richard Bean）改编自意大利即兴喜剧创始人、剧作家卡罗·哥尔多尼（Carlo Goldoni）创作于1743年的名著《一仆二主（Servant of Two Masters）》（意大利语：Il servitore di due padroni）的英文版本，故事背景设置在1960年代的英国布里顿，由英国国家剧院前艺术总监尼古拉斯·希特纳执导。詹姆斯·科登在里面饰演一个同时为两个雇主工作、又不敢让他们发现真相的贪食胖仆人。

Abigail grieves her father's death, feeling isolated. Matt's life disrupted by brother's return. Their paths intersect, tragically shaping their journeys. A character-driven exploration of loss and upheaval.

鲍勃·梅瑟是一名海关工作人员，经常从事卧底工作以便抓捕贩毒人员。他虽然有资格以全额福利退休，但为了破获犯罪集团洗钱案不惜以身犯险。他和同事埃米尔·阿夫雷乌更名改姓，乔装成可以提供洗钱服务的富有商人，并通过线人的介绍，结识了一些需要该项服务的商业人士。经过一层层的牵线搭桥，他结识了犯罪集团的合伙人之一罗伯托·爱尔卡诺，并成功取得他的信任。鲍勃·梅瑟施计在自己的“婚礼”上一举抓捕包括罗伯托·爱尔卡诺在内的所有洗钱案涉事人，成功侦破美国史上最严重的一宗洗钱案内幕。