MC rapper 俩兄弟要在纽约建立自己的潮爆帝国。

A study in the world of hip-hop, done mostly with interviews, in order to see why it is as popular as it is today and what the future holds.

When Nina and her high school friends receive eerie text messages declaring that they will all die within three days, they dismiss it as a hokey prank - until one by one, the pals start turning up dead in the alpine countryside. With the cops stymied, Nina and her remaining friends must scour their past for clues to identify the madman before he kills them all.

沉悶都市。一入狗年人人醒晒！只因五個字。 《大迷信之三》！ - 首部教你用手機去拍攝鬼魂的電影； - 首部鬼上身全程真實拍攝的紀錄片； - 首部公開碟仙、筆仙及「檯仙」為何物 - 閻羅王盂蘭夜送上遊地獄的鬼巾，你敢戴上入睡嗎？ - 盂蘭鬼節群鬼回到鬼域之鬼門關前，打開相機會拍到什麼？ - 搜靈探險隊成員有誰？拍下紀錄片12人深入鬼域死國，匪夷所思，你敢加入這個「搜靈敢死隊」嗎？ - 「搜靈敢死隊」招做會員，先睇此片才決定參加？ - 拜男性的性器官及拜女性乳房的廟宇，你要去看看參拜方式嗎？你也要去拜拜增加你的「性」能力嗎？添丁如意嗎？ - 江美儀探訪老人，那老人正在看日本AV，你做江美儀會點？ - Bob哥玩檯仙又玩閻王地獄巾，要否加入？ - 莊思敏浸溫泉講鬼故，徵求男伴入湯泉(裸體) 聽豔情鬼故，你要唔要報名？ - 河國榮在拍《大迷信之3》前家中老狗死去，他帶狗靈出鏡，講述火化過程，臉上出現狗臉的形相，你要唔要睇？ - 狐仙亦正亦邪，大本營千多狐仙出現，將中午太陽遮蓋，你要唔要會狐仙？ - 1992當年高街鬼屋再現銀幕 ； - 千人戲院睇《大迷信》，新光延續這個傳奇，你要參加？ - 不穿衣服的裸體女神供你參拜，點解要用6隻雞蛋拜？ - 剩女教主一拜拍拖，用六隻雞蛋一拜便有仔？

在法国加莱海岸的沿线，有一个小小的村落。这个村庄里没有多少人家居住。小河和沼泽遍布在村庄之中，使得这里看上去像一个世外桃源。村庄里住着一个怪人，他一个人生活，一个人照顾自己、一个人祈祷。 当地一家农户的女儿前来照顾他的生活，给他食物。并和他在村庄外的树林里生活了一段时间。可是他们不知道的是，就在他们享受生活的同时，“撒旦“也悄悄开始在他们周围徘徊。一个男人和这个姑娘纠缠不清，这个怪人就把他杀了；一个护林员在树林里巡视的时候，又被这个怪人毫无征兆地打了个半死。随着他的这种奇怪的举动越来越多，人们不禁开始对他的身份产生了好奇，他究竟是什么人呢？

克里斯（利亚姆·海姆斯沃斯 Liam Hemsworth 饰）一直希望能够成为一名警察，却在连连遭遇失败后来到了帝国装甲卡车公司，成为了那里的保镖。没过多久，克里斯便发现，公司内的安保布置看似无坚不摧实际上漏洞百出，他将这个秘密告诉了好友艾迪（迈克尔·安格拉诺 Michael Angarano 饰），谁知道自己的无心之谈竟然惹出了之后的一连串大麻烦。 克里斯决定和艾迪联手，两人策划了一宗现金抢劫案，打算在得手之后远走高飞。谁知道这个看似一帆风顺的计划，却因为精明的警探詹姆斯（道恩·强森 Dwayne Johnson 饰）的介入而徒增了风险。与此同时，掌控该片区的黑帮老大亦对两人的计划产生了兴趣。

维克多（约翰·雷吉扎莫 John Leguizamo 饰）生活在车水马龙的大都市纽约，在这里，他经营着自己的毒品生意。维克多靠着贩卖一种名为“帝国”的毒品发家致富，过着奢靡无度的生活，与此同时，他还邂逅了名为卡门（丹妮丝·理查兹 Denise Richards 饰）的美丽女子，两人走到了一起。 卡门怀孕了，这让维克多开始意识到，自己不能够再靠着作奸犯科来赚钱了，他必须找到一个能够给他提供稳定收入但是又合理合法的行当。抱着这样的念头，维克多结识了银行家杰克（彼得·萨斯加德 Peter Sarsgaard 饰），在杰克的带领这下，维克多开始野心勃勃的向纽约上流社会进发。

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation… Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self. This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol. The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.