杰森·苏戴奇斯、伊万杰琳·莉莉将主演动作惊悚片[死亡来临](Till Death)，亚伦·凯莎莱斯([大坏狼])执导，亚伦与纳沃特·帕普莎多、Kai Mark共同操刀剧本。影片故事讲述因持枪抢劫而被判重罪的吉米在服刑12年后，获得假释。而此时，他的童年旧爱安妮身患癌症，即将离世。获释后的他发誓要给安妮最好的临终时刻。不幸的是，一切都没那么简单。影片将于2020年1月开拍。

当卡比尔和家人让一位友好而神秘的陌生人进入他们家时，他们原本愉快的周末度假变成了一场噩梦。随着时间的流逝，这家人将被迫面对他们最可怕的恐惧，这是一部扣人心弦的超自然惊悚片，讲述了印度黑魔法的邪恶元素。

在经常下暴雨的七月份，仅仅一个晚上，全球便迅速降温，并且诡异的下起了鹅毛大雪。作为打工人的我，日常站在站台等待公交车，可我看着天空瞬间变了颜色，心中隐隐出现不安的感觉，突然刮起来一阵狂风，卷积这大雪.......

沈知离为复活师傅凭古方寻找药引，而苏沉澈到访却让沈知离陷入时间循环，沈知离发现苏沉澈身死时光就会倒流，为顺利找到药引二人一同上路，默契和误会接踵而来，还有神秘人暗中指引，两人能否破解时空之谜找到药引？

爱奇艺自制古装网剧《公子倾城》概念海报释出！古灵精怪的江湖侠女遇上孤傲绝尘的无感庄主，阴差阳错下感知互换。奇妙姻缘“甜”注定，反转爆笑乐不停。…

电影讲述在辗转于菲律宾非法体育场的拳击选手马可（姜泰柱 饰）面前，出现了身份不明的男子“贵公子”（金宣虎 饰）和具有不同目的的势力，并展开疯狂追击的故事。

电影讲述在辗转于菲律宾非法体育场的拳击选手马可（姜泰柱 饰）面前，出现了身份不明的男子“贵公子”（金宣虎 饰）和具有不同目的的势力，并展开疯狂追击的故事。

邱公子（王敏德饰）、RAYMOND（古天乐饰）、杨公子（雷宇扬饰）、王公子（张耀扬饰）四人是汽车大盗，其中杨公子好色，王公子好赌，RAYMOND善于格斗，而邱公子头脑精明，经验丰富。他们身怀绝技，专偷名车，而且善于利用高科技手段应付各种防盗设备，令香港警方束手无策。 　　其实RAYMOND是警方派来的卧底，而且还是负责此案的谷警司（秦沛饰）的儿子，为了取得邱公子的信任，他甚至把谷警司的新宝马车也偷了回来，终于打入了这个偷车团伙的内部。他正在搜索证据，希望把他们一网打尽。

邱公子（王敏德饰）、RAYMOND（古天乐饰）、杨公子（雷宇扬饰）、王公子（张耀扬饰）四人是汽车大盗，其中杨公子好色，王公子好赌，RAYMOND善于格斗，而邱公子头脑精明，经验丰富。他们身怀绝技，专偷名车，而且善于利用高科技手段应付各种防盗设备，令香港警方束手无策。 　　其实RAYMOND是警方派来的卧底，而且还是负责此案的谷警司（秦沛饰）的儿子，为了取得邱公子的信任，他甚至把谷警司的新宝马车也偷了回来，终于打入了这个偷车团伙的内部。他正在搜索证据，希望把他们一网打尽。

The movies Claude Chabrol made in the first ten years of his career are vastly underrated nowadays with the film under review being, arguably, the most obscure of the lot; admittedly, LES GODELUREAUX – an unwieldy single-word title if ever there was one (literally meaning "the popinjays") – could not have endeared it much to audiences. Consequently, it seems rather hard now to believe that Chabrol's more renowned colleague at the "Cahiers Du Cinema", Jean-Luc Godard, once named it among "The Top Six French Films made since the Liberation"(!) alongside Robert Bresson's PICKPOCKET, Jean Cocteau's LE TESTAMENT D'ORPHEE' and Jean Renoir's LE TESTAMENT DU DOCTEUR CORDELIER (all 1959)!! 　　Thematically, the film is basically Bresson/Cocteau's masterful LES DAMES DU BOIS DE BOULOGNE (1945) reworked for the "New Wave" set – though the revenge this time around is triggered by a petty incident between strangers, making the whole scheme an even more cynical one. Apart from the director himself, the film also finds some choice performers at somewhere near their best, notably the two leads: Jean-Claude Brialy (genuinely Mephistophelean, he displays a remarkable flair for melodrama throughout) and an entrancing Bernadette Lafont (peerlessly epitomizing earthy sensuality) – though some, like the reviewer of the "Films De France" website, actually felt their characters to be caricatures! Equally imperative to the success of the film is Jean Rabier's glossy black-and-white camera-work, a typically fine score by Pierre Jansen and also a clever use of overlapping sound (actually one of the revolutionary cinematic techniques characteristic of the French "Nouvelle Vague" movement). 　　The plot – oozing with the hedonistic/nihilistic outlook of Chabrol's regular scribe Paul Gegauff – sees the seemingly bisexual bourgeois fop Brialy sending out coquettish seductress Lafont to attract the attention of a young man (well-played by virtual unknown and future director Charles Belmont) who had spited him at the very start of the film. Subsequently, the newly-minted trio becomes virtually inseparable ensuring an invasion of the latter's domestic life (which embarrasses him no end, since he is still in the custody of a strict and wealthy uncle) – as much as they force him into their own private chaos (which involves not only an omnipresent homosexual valet by Brialy's side but a nerdy soon-to-be-wed cousin whom Lafont has no qualms about seducing in front of her current boyfriend, Belmont)! 　　Although at one point a ménage-a'-trois between the three leads is implied, some of their shenanigans are fairly harmless – such as disrupting an art exhibition with the dissemination of sneezing powder, or an upper-class soiree' by incorporating into the program both a sultry dance (performed by none other than a dark-haired Stephane Audran!) and an eccentric ditty sung by a pathetic ex-vaudevillian lady. However, the bacchanal in the style of Ancient Rome, togas and all – held at Belmont's house, having charged Lafont with its upkeep while he is away on business (in the same vein, Luis Bunuel's contemporaneous VIRIDIANA [1961], would feature a famously blasphemous parody of Da Vinci's "The Last Supper") – has more severe repercussions; this sequence is cleverly, and amusingly, cross-cut by Chabrol with the most formal of restaurant dinners being consumed by the oblivious Belmont and his uncle! 　　Eventually, the schemer feels vindicated and confesses to having taken the young man 'for a ride' and that Lafont (whom the boy had genuinely fallen for and was even planning to marry) had been his tormentor's mistress all along. However, in keeping with the film's darkly humorous tone (boasting a couple of bona-fide howlers along the way), the coda shows that, though obviously broken-hearted at first, Belmont has picked himself up by the time we next see him a year later and is consoling himself with a plain-looking girl; in fact, running by chance into Lafont on a pier, it is rather the latter who is unable to mature – being seemingly involved in yet another romantic scam (with a high-ranking Naval officer, no less)…