完美陌生人

　　厌倦了碌碌无为的平庸生活，德州女孩妮可·卡洛（詹米·亚历山大 Jaimie Alexander 饰）与男友杰西·希尔斯（乔伊·曼迪西诺 Joey Mendicino 饰）离家出走，驾车前往洛杉矶追寻她的表演梦想。两人一路前行，伴随着聊天、温存和争吵。期间他们迷路，汽油又所剩无几，好不容易才找到一个偏僻破旧的休息站。在使用过附近那昏暗、肮脏的洗手间后，妮可发现杰西和汽车竟然凭空消失。在这个收不到任何信号、杳无人烟仿佛与世隔绝的地带，她顿时陷入孤立无援的困境。
　　然而妮可的厄运并未就此结束，一辆神秘的黄色小卡车对她展开攻击，而各种各样离奇古怪的事件也相继发生……

　　清朝末年，欧洲足球队海盗队来华时和驻华外国使馆联队进行了一场比赛。比赛引来了大批民众和朝廷官员观看，海盗队获胜后，队长哈里为博取女友詹尼一笑，竟然用力将球踢向围观的群众和朝廷官员。就在一众外国人哈哈大笑之时，人群中窜出一名大汉，他叫周天（张丰毅 饰），他以高强的球技回敬了哈里。詹尼见此教唆哈里向中方挑战，于是一场中外足球赛大战在即。原来周天是一位曾留学牛津大学并曾担任清朝翰林院编修的进步青年，他深知中、外足球水平的据，单凭一己之力很难为中国人出一口气。于是，周天踏上了访寻民间球侠、为国增光的道路。

　　大学毕业生天翔（张学友 饰）出身贫寒，其父猜叔（董骠 饰）靠在榕树头卖唱养活天翔以及年幼的一子一女，天翔不愿父亲在市场唱黄色小曲挣钱，但无奈工资微薄，只得在同事的侧目中忍受。天翔在工作中踏实肯干，在好友大傻（刘青云 饰）的帮助下为公司立下功劳，同时大老板的妹妹比蒂（周海媚 饰）对天翔也颇为有意，二人感情渐浓之际，大老板却因天翔一家的地位低下而中断了这段姻缘，天翔只得从相邻的舞女周枫（张曼玉 饰）处获得情感慰藉。失去工作的天翔加入黑道团伙，与大傻一起同另一势力高佬森连番拼杀，高佬森一伙将大傻和周枫害死，天翔向高佬森寻仇之际，猜叔为保全儿子挺身而出……

　　阳光（马丽 饰）经营着一家寻宠事务所，接受委托帮忙寻找丢失的宠物。有天，晓雪（宋佳 饰）找到了阳光，请她找回自己相依为命的女儿娜娜。阳光被晓雪感动，决定出手相助，但没想到“娜娜”竟然是一只五岁的大老虎，一行人开始了一场令人捧腹又惊心动魄的欢乐劫虎之旅。

　　Phi Am是一种恶毒又诡异的超自然灵体，深植于泰国民间传说和神话当中，并被认为是一名遭受悲惨和不公正死亡的女性复仇之魂。在泰国，小时候的姗玩了禁忌的通灵游戏，不仅失去母亲，也成为姗的童年创伤，让她持续被恶灵缠身。她因此向姐姐贝儿和灵媒蒙寻求帮助以打破诅咒。几年后，贝儿的室友阿琳因为儿子车祸过世而陷入痛苦，更时常感受到不明灵体的凝视。在贝儿的引荐下，她也找上了蒙，并发现这一切都与一名同样沉浸在噩梦当中的年轻男子阿泰有关。所有人夜不成眠，而这一切都与他们曾接触过的通灵游戏有关！他们必须与时间赛跑，以防止进一步的悲剧发生。最终他们能否驱逐灵体找到平静，还是将被游戏中的邪恶力量所吞噬呢？

　　个性压抑的霍克斯，随手打了一个电话号码"976"，欲询问当天的星座运势。但当他听完对方的声音后，性情突然大变，从一个原本懦弱专受人欺负的倒霉鬼，摇身一变成残暴的杀人凶手，狰狞的面孔与长又尖的指甲，彷佛被撒旦附身。霍克斯开始展开一连串的报复行动，打算将整个城镇变成人间地狱，唯一可以制止他的只有当地的一个新闻记者以及学校的性感女老师……

　　黑夜降臨，五名拿到追殺令的職業殺手開始執行任務。警局雇請來自香港的殺手李聖也在今夜抵達，李聖唯一的任務就是獵殺這五名殺手。已完成任務的四名殺手，先後遭到跟蹤在後的李聖襲擊身亡，第五號目標馬修逃過李聖的攻擊，負傷前往東角。而警官卡拉漢擔心遭到李聖的背叛，打算一舉將他與馬修殲滅，便派遣一支特種部隊前往東角，大批人馬聚首，槍林彈雨之下誰能殺出重圍生存下來…

　　Molly, a paranormal con artist who cleans people of their valuables instead of their demons, accidentally rips off a Drug Kinpin. She now has to save her kidnapped partner and herself while battling through the under belly of Los Angeles.

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.