美国小镇上，四岁女童阿曼达突然失踪，她的姨妈和姨夫找到私家侦探Patrick Kenzie（Casey Affleck 饰），委托他调查外甥女失踪的事情。
　　Patrick Kenzie和女朋友兼工作搭档Angela（Michelle Monaghan 饰）开始了艰难的调查。随着调查的深入，他们发现阿曼达的母亲Helene是一个地道的瘾君子，她对毒品的关心程度似乎远胜于女儿的失踪，调查围绕她展开之后，毒品贩子、诈骗犯、虐待儿童的人渐渐浮出水面，Detective Remy Broussard（Ed Harris　饰）以及警官Jack Doyle（Morgan Freeman　饰）也加入了案情的调查，但是阿曼达的名字却越来越遥不可及，Patrick Kenzie也站在了道德的十字路口，开始思考怎样才算是“伸张正义”。

　　一名悬疑小说作家，刚被妻子抛弃，他想藉由法庭的审案过程获取灵感创作一部小说，不料却阴差阳错地认识了正以谋杀罪被起诉的保利纳，并迅速陷入了她的感情陷阱之中，自愿提供她不在谋杀现场的伪证，还邀她回家里居住，以便针对她进行新书的创作。在保利纳美丽的外表下，到底是不是一个包藏祸心的蛇蝎美人呢？

　　Former youth boxing champion Jimmy McCabe, after hitting rock bottom, returns to his childhood boxing club and his old team, gym owner Bill and corner-man Eddie.

　　路飞（田中真弓 配音）和他的草帽海贼团在新世界展开全新的冒险，这一次他们来到了世界上最大的娱乐城——古兰·泰佐罗。这里云集了世界各地的富豪、海盗、海军，同时也是政府承认的独立国家和非武装地带，是世界政府不可轻易染指的“绝对圣域”。被称作“黄金帝”的吉尔德·泰佐罗（山路和弘 配音）是绝对圣域的至高领导，据说吃过金金果实的他拥有常人难以想象的神奇能力，此时有条不紊地实施着雄霸天下的计划。另一方面，原打算狠捞一笔的路飞一伙落入了吉尔德·泰佐罗的金钱陷阱，他们进而被卷入了裹挟着奉献给天龙人的“天上金”以及对抗政府的革命军的巨大漩涡之中。新的争斗在所难免……
　　本片是经典漫画作品《海贼王》第13部剧场版动画。

　　刚服完兵役的莫东（韩石圭 饰）坐火车回家的路上认识了美爱（沈惠珍 饰）。不知为何，莫东感觉自己以后的生活都会跟美爱有牵连。回家后的莫东正找工作，他再次遇到了美爱，美爱是在夜总会唱歌的，更是黑帮老大（文成根 饰）的女友。莫东也因为美爱的关系加入了黑社会。
　　忠心耿耿的莫东对美爱却有一丝丝的好感，而美爱冷酷的外表后面是一颗炽热的心。没想到，他们的组织面临解散，莫东打算付出自己的所有以及心爱的女人，他却得不到应有的回报……

　　公元前11世纪，古埃及面临多重困难，外部有亚述人的战争威胁，又欠下腓尼基商人的大笔债款，国家濒临破产，人民穷困潦倒。拉美西斯十二世病重去世，他的儿子拉美西斯十三世被宣布为法老继承人。为了阻止埃及的迅速衰落，年轻的拉美西斯十三世决定夺取世世代代存放在神庙中的宝藏，将其用于社会改革和对亚述发动战争。但神职人员反对他的计划，祭司和年轻的法老之间开始了政治和宗教斗争。

　　制药公司小职员医学博士出身的宰赫（金明民 饰）早些年被弟弟宰弼（金烔完 饰）劝诱炒股，结果赔得精光，如今委身于一家毫无前景的制药公司做推销员，在外低声下气，看客户脸色行事，心中的郁结只有向家中妻儿宣泄。与此同时，汉江流域附近接连发现数十具尸体，死者全身皆如干尸，死状恐怖。这一事件波及甚广，连宰赫身边的人也无法幸免。经调查发现，死者体内无一例外寄居着本应存在于昆虫身上的铁线虫，铁线虫会刺激宿主食欲大增以吸收养分，等到繁殖期时令宿主神志不清，投水自杀，再进入水中大量繁殖。面对这一新型变种，人类束手无策，无计可施，死亡人数呈几何数增加，韩国上下乱作一团，有如末日。
　　原本为生计奔忙已焦头烂额的宰赫，该如何保护家人幸免于难……

　　电影分为四个短片，每一个短片里都有一名叫做振久（李善均 饰）的年轻男子，一名叫做玉熙（郑有美 饰）的女子和一名叫做宋教授（文成根 饰）的中年男子。
　　振久是在大学里教授电影课程，同时，他也是一位名不见经传的小导演。振久的婚姻生活并不幸福，以至于他宁可在街边吹冷风，也不愿回家面对凶神恶煞的妻子，一次观众交流会中，一名女子提出了一个他无法回答的问题；振久在电影学院里学习电影，但是对于振久来说，他的全部生活并不是电影，却是一个叫做玉熙的女孩。在对玉熙进行了长时间的死缠烂打后，他终于得偿所愿的和玉熙开始了交往，但他并不知道的是，玉熙的心并不在他的身上；迫于生计，导演宋教授不得不在学校兼职任教，然而，没有学生愿意来上他的课，除了一个叫做玉熙的女孩和一个叫做振久的男孩；玉熙拍摄了一个短片，记录了她与振久和宋教授于不同的时间游览同一个地方的所作所为。

　　因犯規被罰出場的守門員布洛赫，在維也納街頭漫無目的地閒逛。他遇到了戲院售票員葛蘿莉亞，並跟蹤她到飛機場附近的荒涼公寓，卻莫名其妙殺了人。布洛赫逃到鄉間繼續漫遊，不時看報紙關注案情進展…

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. 

　　在下关半岛的大间渔港，渔民小滨房次郎（绪形拳 饰）独自将女儿养大，女儿鹭子（夏目雅子 饰）与咖啡店工作的青年俊一（佐藤浩市 饰）相爱。俊一为博得房次郎的欢心，决定随其学习打鱼。经过几天等待，二人终于遭遇金枪鱼群。房次郎只顾专心捕鱼，俊一则不慎被鱼线缠头，险些丧命。出院后的俊一夫妇搬回城里居住，房次郎终于孤身一人。
　　一年后，俊一和鹭子回到渔村。某晚俊一出海未归，无线电中断。房次郎出海寻找，发现俊一正跟一条大鱼搏斗，筋疲力尽，奄奄一息……
　　影片改编自吉村昭同名获奖小说，日本电影旬报评选八十年代百佳电影第33名。

　　本片根据美国前情报人员杰拉德·佩特维奇的一本小说《洛杉矶的生与死》改编而成。剧情描述洛城警探威廉•彼得森誓言不惜一切要替惨死的拍档报仇，后来找出杀人凶手是印制伪钞的油画家威廉•达佛，乃跟他展开一场暴力感十足的猫捉老鼠大追逐。

　　Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop?
　　Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller.
　　The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narration/voice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters.
　　Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppie/violence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with "black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge.
　　However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.

　　In the wake of the end of the world, a family of four desperately tries to survive. Their goal: escaping the city and traveling to the rural community they once called home.
　　The constant threat of a violent death forcing them to stay as far away from civilization as possible, they take to the forest, soon to discover the danger posed by other survivors may be the least of their worries.
　　Will they survive? A dark and unpredictable horror/thriller.

　　任大望（黄渤 饰）一心想把喜好天文的儿子任小天（荣梓杉 饰）培养成钢琴演奏家，为此父子争吵不断。一天，神秘外星人莫扎特意外出现，从此，莫扎特帮助任小天开启了和爸爸“斗智斗勇”的生活。令任小天没有想到的是，莫扎特来到地球竟另有任务……

　　故事讲述程序专家卓家俊（郭富城 饰）意外陷入一起网络金融犯罪的巨大阴谋中，为了活下去，不得不在有限的时间与黑白两道展开一场实力悬殊的暗网对决……

　　本片根据挪威著名抵抗组织战士马克斯•马努斯的真实经历改编。
　　三十年代末期，战争的阴云笼罩欧洲大陆，德国和苏联从东、西两个方向蚕食欧洲诸国。1940年，马克斯•马努斯（Aksel Hennie 饰）同众多挪威青年组成志愿军赴芬兰参加“冬天战争”，以阻止苏联占领芬兰，后因德国出兵挪威，马努斯只得返回奥斯陆，筹办地下刊物宣传反纳粹主张。这份危险的事业导致马努斯被纳粹捉获，然而他涉险逃脱，并终于抵达苏格兰，接受了英方的严格训练。1943年，马努斯空降挪威，利用自制炸弹袭击德国舰只，由此，开始了他以精神病患者身份成为抵抗英雄的传奇人生……
　　本片包揽2008年挪威电影阿曼达奖最佳电影、男主角、摄影、剧本等七项主要奖项。

　　豪尔（威廉·霍尔登 William Holden 饰）和艾伦（克里夫·罗伯逊 Cliff Robertson 饰）是大学时代的好友，艾伦是衔着金汤匙出生的富家公子，毕业之后，豪尔决定投奔艾伦那个有钱的父亲，希望后者能够给自己提供一份工作。老友相见双方当然都非常的高兴，除了艾伦，豪尔还结识了艾伦的女友梅姬（金·诺瓦克 Kim Novak 饰）。
　　梅姬是小镇上最漂亮的女人，豪尔看到她的第一眼就被深深的迷住了，而梅姬也为豪尔幽默的谈吐和绅士风度所倾倒。是选择家境丰厚的未婚夫还是令自己心动的真命天子，梅姬此刻站在人生的交叉路口前。最终，梅姬放弃了理智，追随了内心。

　　金赫（朱镇模 饰）与金哲（金康宇 饰）兄弟两人，与李英春（宋承宪 饰）同为朝鲜逃北者，当年金赫为了生存抛弃弟弟，令被韩国羁押多年的后者怀恨，金赫经多年努力，始终无法得到弟弟的原谅。金赫与英春在韩国加入了枪支走私团伙，两人凭借过人的能力深得老大信任，并受托带挈老大的侄子郑泰民（赵汉善 饰）。岂料表面恭顺的郑泰民因无法得到叔叔的器重，对金赫恨之入骨，在一次交易中将其陷害入狱，欲为金赫报仇的英春身负重伤，一条腿被废。三年后，金哲成为了一名韩国警察，他誓将兄长的团伙绳之以法；郑泰民在组织中爬上高位；而刚出狱的金赫一无所有，他找到落魄度日的英春，二人要拿回属于自己的东西……
　　本片翻拍自吴宇森导演的《英雄本色》。

　　贞观年间，大唐盛世万国来朝，一片昌盛繁荣之景。扶余国国师金文善觊觎大唐盛世已久，便处心积虑布下了危害大唐国运的困龙局。长安城看似一片太平，却接连发生许多离奇的诡异事件。龙睛门弟子中一位名叫“辛礼”的惊奇少年，在破解长安城频发的诡异事件时落入了扶余国国师金文善处心积虑破坏大唐国运的圈套，最终面临龙睛门文化失传与大唐衰落的两难选择。

　　大年三十的除夕夜，三个混迹于中国上流社会的成功女性——时装模特琴琴（李勤勤）、房地产经销商夜太太（平燕妮）和才貌双全的艺术家拉拉（刘索拉）——应同样是成功女性的时尚杂志出版商妞妞（洪晃）的邀请，来到她家过春节。
　　妞妞请客的目的是想找出哪一位是她离家出走的丈夫的情人，而众人也知所赴的是鸿门宴，所以一开始讲话时都很小心翼翼。随着她们对各自情感故事的讲述，妞妞发现谁是她丈夫的情人已经不再重要，因为某种程度上她和她们是一样的人，在成功自信的外表下，心里所藏的，是那些过去年代遗留下来的不可弥补的情感歉疚和无穷动的欲望。

　　马须仁(梁朝伟 饰)专门为上市公司提供重组合并方案，是一个年轻有为的钻石王老五；但他的为人却十分刻薄吝啬，女友为了报复将他的信用卡及银行支票全部挂失，恰巧又遇上公众假期，银行都停业了，他突然之间变成了身无分文的“穷人”。
　　这时，马须仁邂逅亚彩(舒淇 饰)，更在亚彩面前大出洋相，笑话百出。亚彩以为他假装扮成有钱人，于是劝马须仁应当脚踏实地做人，两日在交往中渐渐坠入爱河。亚彩由于父亲炮仗叔(黄一飞 饰)逼她嫁给乡长之子，无奈下向父亲辩称已跟一个富家子弟相恋，并安排马须仁与父亲见面。本来就是有钱人的马须仁表现得游刃有余，但他的真正身份终给亚彩揭破，亚彩认为他是故意玩弄他，一怒之下出走了……

　　17世纪初叶，经过长时间的攻伐兼并，日本战国时代落下帷幕，转而进入了德川幕府统治的时代。和平降临，取而代之的是大批武士流离失所，为生计所苦逼。在此期间，有的浪人请求在显贵门前剖腹以保存颜面，有的人因此得到留用，也有的得到物质资助，但其中不乏借此敲诈的宵小之徒。某天，名门井伊家迎来了名叫千千岩求女（瑛太 饰）的年轻浪人，为杜绝这股邪风，井伊家假戏真做，逼迫千千岩以及其不体面的方式悲惨死去。原以为这会令敲诈的浪人们望而却步，谁知不久后另一位名叫津云半四郎（市川海老藏 饰）的中年武士前来求死……
　　本片根据泷口康彦的小说《异闻浪人记》改编，该故事曾于1962年由名匠小林正树搬上银幕。

　　每年二月份，阿根廷西北部就会开始下起热带雨林特有的倾盆大雨，雨水把广阔的森林变成了一片人畜都无法通过的沼泽湿地，炙热的太阳晒在沼泽上，热气与雾气让这儿一片死寂。五十岁老妇人梅恰，就住在这片沼泽地的边缘，她与她的表妹塔丽在这儿经营着一座农场，她们各有四个小孩，各有一个老公，两个家庭在沼泽边挣扎着生存，但是这一年夏天，两个意外事件让她们面临了生存的挑战……