P
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Ed Hunt
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吉姆是一个学校公认的问题儿，因此受到一个研究机构的“特别照顾”进行心理辅导，殊不知这个机构是由外星人建立起的地球分基地，并且使用一个大脑怪物来控制附近居民的心智，当吉姆意识到这点时一连串追杀随即而来……（这里面的怪物超赞，大脸猫的究级进化版！） 血腥度：3 片中怪物数量：2 怪物类型：外星生物+变异 怪物特点：控制人心智、让人产生幻觉、随着吃人而增大、无处不在 怪物必杀技：幻象术、钢牙铁齿、迷魂大法、超进化 怪物恶心度：4 ————————————by zombiehunter
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George Pal
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一个希腊渔民救起了一位公主，原来她是来自科技高度发达的亚特兰蒂斯，并送其返回祖国，希望能够得到奖赏，然而却被囚禁，成为劳工。 国王被一个邪恶的巫师操纵，企图使用亚特兰蒂斯的某种自然资源来征服世界。亚特兰蒂斯人，确切地说是亚特兰蒂斯的奴隶，被迫开采一种能够吸收太阳射线的水晶矿物，制造出可以发射热线的武器。由于腐朽和道德沦丧，国家已经处于毁灭前夕。 疯狂科学家在实验室里将奴隶变成怪物，男主角为了争取自由，不得不在观众们的欢呼下与巨人搏斗，最后通过智取战胜了巨人。 大毁灭即将到来，鸟兽纷纷逃离，在一个仁慈友善灵性高尚的大祭司的帮助下，男主角从巫师的魔咒中救出了公主，并在亚特兰蒂斯最后的大毁灭前逃脱。 大祭司与巫师搏斗之时，水晶武器失去控制，最终将二人一同摧毁。地震，海啸，火山，幸存者逃至世界其他地方，用神话将亚特兰蒂斯的故事流传下去。
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雷蒙德·德·费里塔
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纽约附近城岛的监狱看守文斯（安迪·加西亚 Andy Garcia 饰）瞒着老婆乔伊斯（朱丽安娜· 玛格丽丝 Julianna Margulies 饰）到城里上表演课，梦想成为一名演员。乔伊斯瞒着文斯抽烟，女儿和儿子也都有自己的大小秘密，一家人各自为政。有一天文斯发现新转来的犯人汤尼（史蒂文·斯崔特 Steven Strait 饰）竟是自己遗弃二十多年的儿子。文斯把汤尼带回了家，向所有人隐瞒了事实，希望能利用假释好好照顾这个儿子，让他重返正途。与此同时，在表演课同学莫莉（艾米莉·莫迪默 Emily Mortimer 饰）的鼓励下，文斯参加了一次重要的电影角色面试，没想到这却引起了乔伊斯的误会，造成了家庭危机大爆发…… 本片获纽约曼哈顿特里贝卡（Tribeca）电影节观众票选奖。
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Tony Maylam,Ian Sharp
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故事发生在2008年的伦敦，全球变暖导致海平面上升，部分陆地时不时遭到洪水的淹没，处处一片破败萧瑟的景象。警探斯通（鲁特格尔·哈尔 Rutger Hauer 饰）因为办案方式太过激导致他遭到了警局的解雇，但即便脱下了配枪和警服，斯通依然锲而不舍的独子追查着他在职期间未能够破获的连环凶杀案件。 某日，城市里又新起了一宗凶杀案，被害人遭到了凶手的开膛破肚，死状非常的恐怖。凶手行凶的手段立刻就让斯通联想到了曾经发生过的那些案件，他坚信这几起案件为同一人所为。没过多久，警方收到了一个可怕的包裹，包裹里是死者遭到了啃噬的心脏，通过齿痕判断，作案者并非人类。
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泰伦斯·费希
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A murderous religious cult is way-laying travellers and stealing goods in nineteenth century India. As the disappearances mount and trade becomes difficult, the British East India Company is forced to act. But they give the job to an upper-class officer completely out-of-touch with the country rather than the obvious candidate who has been in India for years and well understands the people and culture.
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Stephen Carpenter,Jeffrey Obrow
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The Kindred（试管人魔） 剧情大概： 约翰医生的弟弟因为车祸而丧生，可他却把自己弟弟的遗体当作试验品改造成了怪物，此时他的朋友们来到其居所看望他，一阵腥风血雨即将到来……（此片感觉像变蝇人+怪形的结合体，但故事并不怎么出彩，不过怪物的样子还算比较独特） 血腥度：3 片中怪物数量：少量 怪物类型：人造生物+变异 怪物特点：试管培育出来的怪物，可迅速长大，有传染能力，触手系 怪物必杀技：穿刺、再生、同化 怪物恶心度：3 ————————————————by zombiehunter
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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.
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康拉德·卢克斯
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Hauntingly Beautiful This film is stunning in its beauty. The music is transcendent. For the longest time I tried to get the soundtrack. To save you the trouble, be aware that they never made one! There is one scene in which a woman blows on a shell that was so powerful I still remember 30 years later. Mesmerizing. If you have not seen it yet, rent it today.
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Buddy Cooper
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A group of teenagers decide to take a vacation at the beach house of one of their fathers. The kid whose father owns the house just happened to accidentally kill his mother when he was a child. When they get to the house, the father has mysteriously disappeared.
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皮特·沃克
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A quick glimpse at the cast for this film would make any horror fan giddy with glee. The actual movie doesn't live up to those high expectations, but it's far from being all bad. Desi Arnaz Jr. (!) plays an author who makes a crazy $20,000 bet with his publisher that he could write a great novel in only 24 hours. To do so, the publisher gives him the keys to an old abandoned house where he won't be disturbed. Not true. Once he gets there he is interrupted by a multitude of guests including a family which consists of John Carradine, Sheila Keith, Peter Cushing and Vincent Price. They are gathered there in a twisted family reunion to release their brother from the room he's been imprisoned in for forty years. Even Christopher Lee drops by as Corrigan, the man who has just purchased the house. Soon, they realize that the caged brother is loose and out for revenge. What a great plotline and what a dream cast! This movie should have been a hell of a lot better. It's hard to pinpoint the exact problems with the film, but I would venture to say that the lack of lighting was a major fault. Sure the house has no electricity but I think they took the title of the movie a little too literally. Scenes after scenes are barely visible and the actors' faces are undecipherable. Only the moments in the main dinning hall are well lit. Also, the great actors are given very little to do. Cushing gets a few chuckles as the scared brother but Price, Lee and especially Carradine are somewhat wasted here. Well, at least Price gets the best line of the film: `Please don't interrupt me while I am soliloquizing.' And on the plus side, the story has enough twists and turns throughout to keep one`s interest and the ending, while a bit of a cop-out, manages to surprise.
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达尼埃尔·于伊耶,让-马里·斯特劳布
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The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements: water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive: Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna. The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator, the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination. Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.
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让-吕克·戈达尔
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Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract need for guidance of Germany following the fall of the Berlin Wall.
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凯文·康纳
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为了找寻失踪的叔叔，年轻人自己设计了地心探险船,却被人剽窃,结果只能接受事实,因为商人答应让他带队去寻找失落的文明。 然而商人手里有一块神秘碎片，如果他找到其余碎片就可以拥有强大的力量。另一部分传说在地心，在那里也有一个世界，于是他赞助一些科学家去地心做科学研究，其实是为了实现他的野心，科学家们乘坐年轻人发明的有大钻头的飞船到了地心，在那里他们发现有原始人，通过他们的壁画知道他们的祖先是从地上顺着火山口进到地心的,他们还结交了白色的人形怪物并成为朋友。然而在这里还有一个身上插了很多导管，管子里流淌着绿色液体的邪恶统治者，整个地心世界由他控制....
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劳尔·鲁伊斯
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Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series' significance.