"Two Stupid Dogs" follows the lives of two dogs: the overly excited Little Dog (the dachshund) and easy-paced Big Dog (the sheepdog). These crazy canines don't know how to fit in the world, and they definitely don't have any know-how. They often find themselves in commonplace situations (going to the drive-in, walking through the mall, working on the farm), some not so common situations (stuck on a space shuttle, a contestant on a game show, getting mistaken for the prime minister) and even in some familiar situations (little red riding hood, Noah's ark, and Hanzel and Gretel). But no matter the situation, their stupidity usually leads them to calamitous results. Written by [email protected]

When Tum (Lalita Panyopas) gets laid off from her secretarial job during the opening moments of Pen-Ek Ratanaruang's 6ixtynin9 (Ruang talok 69), it doesn't take long for things to go from bad to worse. A mysterious package is inadvertently left in front of the door of her Bangkok apartment containing $25,000, and in short order all manner of dead bodies start piling up, most of them in Tum's apartment. 　　This exciting 1999 film from Thai director Pen-Ek Ratanaruang (Last Life in the Universe) is in the Quentin Tarantino/Danny Boyle vein, with copious bits of sudden violence nestled between darkly comic situations. Revealing too many details would take the fun out of this one, but the message that money most definitely does not buy happiness is the theme here, with the bloody misadventures of the quiet and serious Tum—who crosses paths with a crooked boxing promoter, murderous henchman, a handsome policeman, a nosy neighbor, and an evil crime lord—moving unpredictably as mercury. What that really means is that Pen-Ek Ratanaruang does not shy away from dispensing with secondary characters at a moment's notice, and the film moves along rapidly with carefully constructed abandon. 　　There is a real sense of freshness in the way Pen-Ek Ratanaruang tell the story (even if we've seen vaguely similar plots like this before) by utilizing some interesting dream and transitional sequences, and I was constantly surprised by the bouncy quickness that minimized any measurable dead spots, and that made 6ixtynin9 just fly by. Lalita Panyopas, who seems to carry the weight of the world in her expressively stoic face as the woeful Tum, spends the majority of the film looking worried, pensive, or frightened, and yet she is still able to display a deftly macabre comic timing, even as she's sawing the leg off of a dead body. 　　6ixtynin9 is one of those definitive sleeper titles, the type that never gets the audience it truly deserves, and being a foreign film doesn't help its marketability much, considering that subtitled films generally never achieve the same kind of broad Western appeal. That is certainly unfortunate and near-sighted thinking, because Pen-Ek Ratanaruang has made the kind of bloody tragicomedy that never takes the obvious way out, and the mix of humor and violence blends together seamlessly.

"Two Stupid Dogs" follows the lives of two dogs: the overly excited Little Dog (the dachshund) and easy-paced Big Dog (the sheepdog). These crazy canines don't know how to fit in the world, and they definitely don't have any know-how. They often find themselves in commonplace situations (going to the drive-in, walking through the mall, working on the farm), some not so common situations (stuck on a space shuttle, a contestant on a game show, getting mistaken for the prime minister) and even in some familiar situations (little red riding hood, Noah's ark, and Hanzel and Gretel). But no matter the situation, their stupidity usually leads them to calamitous results. Written by [email protected]

When Tum (Lalita Panyopas) gets laid off from her secretarial job during the opening moments of Pen-Ek Ratanaruang's 6ixtynin9 (Ruang talok 69), it doesn't take long for things to go from bad to worse. A mysterious package is inadvertently left in front of the door of her Bangkok apartment containing $25,000, and in short order all manner of dead bodies start piling up, most of them in Tum's apartment. 　　This exciting 1999 film from Thai director Pen-Ek Ratanaruang (Last Life in the Universe) is in the Quentin Tarantino/Danny Boyle vein, with copious bits of sudden violence nestled between darkly comic situations. Revealing too many details would take the fun out of this one, but the message that money most definitely does not buy happiness is the theme here, with the bloody misadventures of the quiet and serious Tum—who crosses paths with a crooked boxing promoter, murderous henchman, a handsome policeman, a nosy neighbor, and an evil crime lord—moving unpredictably as mercury. What that really means is that Pen-Ek Ratanaruang does not shy away from dispensing with secondary characters at a moment's notice, and the film moves along rapidly with carefully constructed abandon. 　　There is a real sense of freshness in the way Pen-Ek Ratanaruang tell the story (even if we've seen vaguely similar plots like this before) by utilizing some interesting dream and transitional sequences, and I was constantly surprised by the bouncy quickness that minimized any measurable dead spots, and that made 6ixtynin9 just fly by. Lalita Panyopas, who seems to carry the weight of the world in her expressively stoic face as the woeful Tum, spends the majority of the film looking worried, pensive, or frightened, and yet she is still able to display a deftly macabre comic timing, even as she's sawing the leg off of a dead body. 　　6ixtynin9 is one of those definitive sleeper titles, the type that never gets the audience it truly deserves, and being a foreign film doesn't help its marketability much, considering that subtitled films generally never achieve the same kind of broad Western appeal. That is certainly unfortunate and near-sighted thinking, because Pen-Ek Ratanaruang has made the kind of bloody tragicomedy that never takes the obvious way out, and the mix of humor and violence blends together seamlessly.

A woman, fired from a financial corporation during the Asia crisis, returns home with no money. However, she finds a box with a fortune in front of her door, and decides to keep it. However, the people that left it there soon want it back.

失业后，这名女子在公寓门口发现了一个神秘包裹，而她的生活也开始变得更糟。

韩国动作奇幻电影，于2025年10月15日上映。该片由姜允成执导，是韩国首部采用生成式人工智能技术的长篇电影。 　　一场葬礼揭开惊天阴谋！警察金锡泰与国情院特工唐九追捕潜逃海外的赌场大亨载范，却在韩国某殡仪馆意外身亡，灵魂被困于阴阳交界。他们发现自己并非孤魂——死者化作阴差追猎亡魂，而载范竟藏身灵堂。为复活，众人必须在阴差之王降临前找回藏匿的70亿巨款。逃亡、背叛、真相交织，当牛骨汤未吃完就踏入冥界，这群亡者只能靠彼此与佛寺一线生机，展开一场荒诞又紧绷的生死逆袭。

In a remote village in Xinjiang, the Tajik people face a quiet crisis: the loss of their language. The older generation speaks in the ancient Tajik language using the Uyghur script, while the younger generation, influenced by government policies, speaks Mandarin and reads Chinese characters. This linguistic divide has created an invisible barrier between them, making communication between grandparents and children difficult. 　　Through the filmmaker’s intimate journey in the village, the film explores the emotional distance that words can’t bridge. As the villagers navigate their daily lives—through rituals, songs, and silent gestures—a deep, unspoken bond emerges, transcending the limits of language. The film is a poetic meditation on the power of human connection in the face of cultural and linguistic loss.

杰德是平面设计师，他永远是中间的那个“老二”。他在学校成绩一般。他身边的人要么是他的兄弟姐妹，要么是他的朋友长得太好看了，以至于他一直被忽视，或者成为那些想亲自了解他的兄弟姐妹和朋友的人的中间人。玉多年来一直处于这种情况，不得不勉强接受。他在心里筑起了一道高墙。他不期待浪漫的关系，因为他知道无论谁来找他，都只是想接近他周围的人。一天，他的办公室迎来了一位名叫麦的实习生。麦是一个很有魅力的学生，很受办公室女孩的欢迎。杰德注意到麦经常盯着他和他的朋友Uea。他认为麦对Uea感兴趣，是的——他将再次成为这个的中间人。但是，他不知道真正吸引麦目光的是他。看看中间人不会像以前一样被忽视会怎么样！~~改编自littlebbear96的小说

被关在今世和来世之间“中间界”的人们和想要消灭灵魂的阴间使者之间的追逐动作片