我愛狐貍精

評分：9.4 播放：19萬 更新：2026-04-26
主演： 李中寧 邱月清 李唯君 

阿壽與老婆阿玲結(jié)婚十多年，其妻每天需替祂料理起居飲食及公司的事務(wù)，夫妻生活已成例行公事。一日，阿壽往澳門出差，結(jié)識了行為開放的MissFox，二人發(fā)生異地情緣，阿壽開始對妻子佰般挑剔，更想將她改造成MissFox。阿玲改變后招來不少狂蜂浪蝶，二人終發(fā)生口角，阿壽被迫搬至MissFox家鈡，但MissFox的生活習(xí)慣及開放的觀念與阿壽格格不入，很快又因為xing格不合，再次被趕出。阿壽仟方佰計追回噯妻，經(jīng)過這次風(fēng)波，阿玲不但有妻子的勤勞體貼，而且衣著談吐更有狐貍精的新奇情趣。 　　

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喂，應(yīng)為

長澤雅美,永瀨正敏,高橋海人,大谷亮平,筱井英介,奧野瑛太,寺島忍

葛飾應(yīng)為生活在藝術(shù)幾乎完全由男性主導(dǎo)的江戶時代，盡管她是北齋之女，但仍作為屈指可數(shù)的女性畫師活躍于畫壇。她擁有連北齋都稱贊“在美人畫方面勝我一籌”的繪畫天賦，同時性格火爆、剛強(qiáng)、煙不離手，是個豪爽灑脫的女性形象。                                                                      　　《喂，應(yīng)為》的主人公阿榮是北齋的女兒、得力助手，展現(xiàn)了驚人的繪畫天賦。她從父親那里獲得了“葛飾應(yīng)為”這一畫號，這個名字源于北齋常常喊她“喂，飯來！”“喂，筆來！”等日常呼喚，“應(yīng)”代表回應(yīng)，“為”則有作為、成就之意，是從師父傳給弟子的名號，也是父親傳給女兒的象征。盡管她不會泡茶，也不擅長針線活，卻以繼承自父親的繪畫才華與膽識，在男性社會中闖出一條路。

妖獸都市

黎明,李嘉欣,仲代達(dá)矢,張學(xué)友,張耀揚(yáng),李若彤,袁和平,葉山麗子

　　故事發(fā)生在未來世界，阿龍（黎明 飾）和阿強(qiáng)（張學(xué)友 飾）都是抓捕妖獸的特警隊警員，但是上司（袁和平 飾）非常器重阿龍，而對阿強(qiáng)就戒心重重。阿強(qiáng)氣不過在酒吧買醉，得到了女友（李若彤 飾）的支持寬慰。然而，他心頭總是籠罩著陰影——原來阿強(qiáng)的母親也是妖獸，后來他把這個隱秘告訴了阿龍。阿龍也坦白了自己跟妖獸幻姬（李嘉欣 飾）的一段感情……　　此后，阿龍在一次抓捕元大宗（仲代達(dá)矢 飾）的行動中，重逢了現(xiàn)已成為元妻的幻姬，情急之下卻要引出重重誤會。其實(shí)，元大宗是要跟人類合作的妖獸，但是另有一股液態(tài)妖獸正在肆虐地侵襲這個城市。在對抗液態(tài)妖獸的過程中，阿龍與幻姬的感情經(jīng)歷了生死的考驗，但是元大宗的兒子鬼眾道（張耀揚(yáng) 飾）卻設(shè)計離間意圖消滅人類，與此同時阿強(qiáng)也發(fā)現(xiàn)了特警隊的叛徒……

最后決戰(zhàn)

皮埃爾·若利韋,讓·布伊茲,讓·雷諾

　　此片是盧貝松再影壇還沒沒無聞時，憑著一腔熱血，旺盛活力與爆發(fā)力， 突破一切傳統(tǒng)，掙脫一切商業(yè)機(jī)制下的樊籠，冒著無色彩，無對話，無明星等大諱所完成的電影。當(dāng)影片完成時，因宣傳無門，于是盧貝松帶著這部影片參加瑞士阿沃基影展，一舉拿下評審特別大獎及影評人獎，因而打開他的國際知名度。解剖核子戰(zhàn)后的文明廢墟，因為無色彩，所以這是一部黑白色調(diào)的電影。

那個人在想什么事情

John Price,Preben Neergaard,Lotte Tarp

　　The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.