一名摔跤手和一名侦探联手阻止一名疯狂科学家，该科学家绑架运动员，将他们的大脑替换为动物的大脑，以使他们更强壮、更长寿。

World War I is coming to its end. Prisoners of war are coming into the town with Serb Ivo among them. During one of his escapes from the camp, he finds himself in a private garden. There he meets Lisa, the wife of the town-major - a severe and heartless colonel. She is sad, lonely and her meeting with the Serb develops into a deep mutual love. Their meetings become more frequent. But the lovers are doomed. The war prisoners are moved away and as Ivo comes to bid her farewell, he is shot to death. Written by Georgi Djulgerov {major@bitex.com}

Meng Chen Zhi Tu's groundbreaking crime thriller,telling a highly complex story about crime, humanity, self-consciousness and Michael Bay'sviolent tendencies. Christopher Nolan cried to faint at the toilet after watching the film. He said comparing to Meng, he was not qualified as a director.

A man who loses a very personal part of his body to cancer decides he wants it back in this offbeat black comedy.

校园内外卖失窃频发，元旦跨年夜，我精心点的螺蛳粉惨遭小偷顺手偷走，气愤之下我在餐品中做了特殊处理，本是想惩戒惯偷，却没想到一周后直接引来了警察。 我被无端指认涉嫌不当行为，不仅要赔付三千二百元医药费，学校更是下发处分通知，拟记大过处分，还要直接取消我的奖学金与贫困生补助，彻底断了我的生活来源。 可我偏偏是法律系出了名的硬核辩手，最擅长理清法理、维护自身权益，面对这般不公处置和无端构陷，我绝不会任人拿捏、白白蒙冤，势必拿起法律武器，一步步拆穿套路，自证清白，讨回所有公道。

一个患有忧郁症的盗车贼，一个神秘的外科医生，还有一个年轻稚嫩的接线员，三个角色一台戏。故事背景在意大利与瑞士，深入人类灵魂的灰色地带。接线员爱上了在公路上“工作”的偷车贼的声音，神秘的外科医生驾驶奢华的黑色宾利在大路上驰骋。他们的命运交错，捕猎者与被捕者互相寻找，角色不断转换。

金门万安堂的魁星爷独自飘过大海来到沙美，目的是点化生错时辰的文曲星林天祐。林天祐一直得不到父亲认可，却自命不凡，一心想要成为天下最聪明之人，还被村里的老贼头利用去干坏事。好在他本性善良，历经诸多波折后，终于领悟到脚踏实地的人才是真正聪明的人。

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.