由北京南方云海文化傳播公司出品、IFG星圖傳媒獨(dú)家發(fā)行。在日益擁擠和嘈雜的都市之中，有一群來自社會(huì)底層的洗車少年，他們撿到了一條受傷的狗。關(guān)于這條狗的何去何從，他們存在分歧，卻最終由于故事主人公小林的堅(jiān)持，而帶回了家。小林，是一個(gè)因家庭變故而離家出走的少年，他的迷失即是來源于成長，卻也來源于對(duì)成人世界的厭惡。六歲孩子和他們一起生活，他始終夢(mèng)想著有朝一日找到自己的媽媽。他們想盡辦法給這條狗療傷，與此同時(shí)，這條小狗也帶給了他們一些生活的歡樂。然而，在發(fā)生種種變故后，小林和小神仙仍舊帶著毛線頭，踏上了去往海邊的尋找——一個(gè)并不存在的媽媽，一個(gè)沒有終點(diǎn)的旅途。

　　A desperate young man possessing special powers clashes with a militarized police force after committing a petty crime.

　　執(zhí)掌風(fēng)霖的東海龍女（李沁謠飾）因失去記憶，化成一條魚，意外遇到和自己有宿世因緣的韓湘子（張遠(yuǎn)飾），二人受說書人的點(diǎn)化，一路向東歷練尋找龍門。 在幫助龍女“躍龍門”的奇幻之旅中，韓湘子也逐漸領(lǐng)悟了愛的真諦和人間大義，千年東游不負(fù)深情。

　　一名老人從他遺世獨(dú)立的農(nóng)場(chǎng)出發(fā)，走在塵土飛揚(yáng)的道路上，前往鄰近的鄉(xiāng)村。陪伴他的是一位沈默的鬼魂，老人在五十年前曾目睹他的死亡。數(shù)十年來，老人都對(duì)因結(jié)核病過世的母親感到遺憾，心理疾病的折磨讓他產(chǎn)生了病態(tài)的需求，為了讓自己好過，他開始秘密協(xié)助生病的婦女進(jìn)行安樂死。當(dāng)他發(fā)現(xiàn)身邊的鬼魂伴侶能夠協(xié)助他穿越時(shí)空，老人立刻計(jì)畫回到過去，意圖說服年輕的自己去避免讓母親受到絕癥的折磨。然而，他並未意識(shí)到自己的行為將對(duì)未來產(chǎn)生什麼樣恐怖的影響??

　　太空探險(xiǎn)家賽門意外發(fā)現(xiàn)外星生物，這個(gè)叫「阿諾」的可愛小毛怪，長的可愛又友善，但是賽門的邪惡兄弟Cecil卻把它綁架了，但麻煩的還不只於此，受到攻擊與威脅的「阿諾」會(huì)自動(dòng)分裂，一個(gè)變兩個(gè)，兩個(gè)變四個(gè)，長的又快又邪惡，轉(zhuǎn)眼間平靜小鎮(zhèn)斥充邪惡小怪物，賽門與「阿諾」要如何拯救小鎮(zhèn)？...

　　一支四人科學(xué)小隊(duì)登陸火星探險(xiǎn)，結(jié)果遭遇了種種怪物鎩羽而歸。

　　An insane scientist doing experimentation in glandular research becomes obsessed with transforming a female gorilla into a human...even though it costs human life.

　　幻想與現(xiàn)實(shí)界限模糊的未來世界，科技已經(jīng)發(fā)展到遠(yuǎn)遠(yuǎn)超越時(shí)代的地步。電玩界女王愛麗拉·蓋勒（詹妮弗·杰森·李 Jennifer Jason Leigh飾）不僅美麗性感，更是一位設(shè)計(jì)尖端游戲的設(shè)計(jì)師。她所設(shè)計(jì)的虛擬實(shí)境系統(tǒng)“X接觸”可以直接干擾玩家的神經(jīng)系統(tǒng)。在試玩大會(huì)上，各方玩家齊聚一堂，體驗(yàn)愛麗拉的最新杰作。然而一群狂熱者企圖刺殺愛麗拉，危急時(shí)刻，愛麗拉被守衛(wèi)泰德·皮庫（裘德·洛 Jude Law飾）救走。為了躲避追殺，兩人雙雙進(jìn)入“X接觸”的異次元世界，然而一切正在變得越來越虛幻。
　　這部隱含大量社會(huì)議題的科幻驚悚影片《感官游戲》，由國際影壇最富爭(zhēng)議性、最成功的導(dǎo)演之一大衛(wèi)·柯南伯格執(zhí)導(dǎo)。本片入圍1999年第49屆柏林國際電影節(jié)金熊獎(jiǎng)，導(dǎo)演大衛(wèi)·柯南伯格榮獲該年度柏林國際電影節(jié)銀熊獎(jiǎng)-杰出藝術(shù)成就，并榮獲2000年第26屆美國電影電視土星獎(jiǎng)-最佳科幻電影提名等多項(xiàng)大獎(jiǎng)。

　　電視臺(tái)女主播安吉拉（珍妮弗?卡彭特 Jennifer Carpenter 飾）第一次出鏡有些緊張，因?yàn)樗獏⒓右粋€(gè)在洛杉磯某消防局與隊(duì)員共度夜晚的節(jié)目。安吉拉性格熱情開朗，所以逐漸融入了這個(gè)團(tuán)隊(duì)，她不但了解了每個(gè)人的個(gè)性，而且還迅速成為了他們的開心果。然而，突然接到911的報(bào)警電話，安吉拉隨這群消防隊(duì)員來到了出事地點(diǎn)。在這座陰森可怖的大樓里，不時(shí)傳出女人凄厲的尖叫，當(dāng)?shù)鼐揭呀?jīng)封鎖了大樓，消防隊(duì)員試圖疏散被困人群，卻無意中身陷困境。在隔離的區(qū)域，一個(gè)女人不知感染什么病毒，殘忍地傷害了許多人。眼看著消防隊(duì)員慘遭不幸，自身難保的安吉拉被逼上了絕路……

　　In this futuristic sci-fi film, based on the legends of the Golem, insane scientists have invented technology that give them total control over the half-human, half-android population of Earth. Trouble ensues when one of the creatures begins showing independent will. He must be destroyed lest he influence the rest. They pursue him, but somehow he continues to elude the evil doctors. ~ Sandra Brennan, All Movie Guide

　　Eric Braeden stars as Dr. Charles Forbin, who has created a supercomputer named Colossus, built solely for the purpose of controlling the nuclear defenses of the Western alliance. It isn't too long after, however, that the Russians announce that they too have built a similar computer for those same purposes on their side--Guardian. And when the two machines begin sharing information at a speed nobody can believe, an attempt is made to disable them.
　　This unfortunately just raises the machines' ire; and in retaliation, they launch their weapons at each other's home nations. The result is a chilling scenario that is potentially becoming all too real these days.
　　COLOSSUS: THE FORBIN PROJECT was not a big hit at the box office for various reasons. One is that its cast wasn't exactly well known. Another reason is that its ending isn't exactly a happy one. Still a third reason is that Universal had trouble trying to promote it in the wake of the huge success of Stanley Kubrick's 2001: A SPACE ODYSSEY. The latter reason is obvious: Colossus and Guardian, like HAL in the Kubrick movie, become central characters here. The difference here is that while HAL malfunctions due to a programming conflict, Colossus and Guardian remain all too stable, convinced beyond a doubt that they know how to protect Mankind better than Man himself. As the computers point out: "One inevitable rule is that Mankind is his own worst enemy."
　　Joseph Sargent's direction is efficient, and the special effects work of Albert Whitlock still manages to work despite its obvious age. An overlooked gem in the sci-fi genre, this should be given a revival.