《恶客》是《拳击》的续集，背景从泰国转往东京。被姜大卫兄弟收服的强人（陈星），在泰国逃狱，杀死狄龙母亲，掳去他未婚妻井莉。 强人又来到香港寻仇，数度化装暗杀姜大卫武馆的门人。 强人背后还有个老板，井莉就在他手上，姜大卫等被迫前往日本谈判

《恶客》是《拳击》的续集，背景从泰国转往东京。被姜大卫兄弟收服的强人（陈星），在泰国逃狱，杀死狄龙母亲，掳去他未婚妻井莉。 强人又来到香港寻仇，数度化装暗杀姜大卫武馆的门人。 强人背后还有个老板，井莉就在他手上，姜大卫等被迫前往日本谈判

Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. 　　The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). 　　Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH). 　　As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don't go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. 　　The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point: "IT!' has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome. 　　For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black & white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. 　　The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's "It's a Good Life")? The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!) 　　Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. 　　This film's story is not really totally original (what is?), for it is based on A.E. Van Vogt's "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from. 　　As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.

Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. 　　The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). 　　Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH). 　　As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don't go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. 　　The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point: "IT!' has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome. 　　For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black & white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. 　　The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's "It's a Good Life")? The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!) 　　Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. 　　This film's story is not really totally original (what is?), for it is based on A.E. Van Vogt's "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from. 　　As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.

离婚后她带崽嫁入豪门：林梦在经历了与前夫赵乾的感情破裂后，为了儿子卷卷的户口问题，做出了一个重大的决定，她与商业界赫赫有名的潘氏集团总裁潘毅步入了婚姻的殿堂。起初，这段婚姻似乎只是出于现实的需要，然而，随着时间的推移，潘毅渐渐发现卷卷与自己有着惊人的相似之处，心中不禁产生了疑虑。经过一番深入的调查，他惊人地发现，原来林梦之前一直被赵乾所欺骗，赵乾企图通过冒认孩子身份来谋取不正当的利益。真相大白后，赵乾的阴谋彻底败露，他最终难逃法律的严惩。而林梦与潘毅，在经历了这一系列的风波之后，彼此之间的情感反而更加深厚。他们带着卷卷，一家三口终于迎来了属于他们的幸福团聚，共同开启了崭新的人生篇章。

离婚后她带崽嫁入豪门：林梦在经历了与前夫赵乾的感情破裂后，为了儿子卷卷的户口问题，做出了一个重大的决定，她与商业界赫赫有名的潘氏集团总裁潘毅步入了婚姻的殿堂。起初，这段婚姻似乎只是出于现实的需要，然而，随着时间的推移，潘毅渐渐发现卷卷与自己有着惊人的相似之处，心中不禁产生了疑虑。经过一番深入的调查，他惊人地发现，原来林梦之前一直被赵乾所欺骗，赵乾企图通过冒认孩子身份来谋取不正当的利益。真相大白后，赵乾的阴谋彻底败露，他最终难逃法律的严惩。而林梦与潘毅，在经历了这一系列的风波之后，彼此之间的情感反而更加深厚。他们带着卷卷，一家三口终于迎来了属于他们的幸福团聚，共同开启了崭新的人生篇章。

家路久（木村拓哉饰）原本是证券公司的精英，却因为一起爆炸意外，丧失了5年来的记忆。即使回到家中，妻子（上户彩饰）与儿子都像戴着冰冷的面具，丝毫感觉不到爱情与温暖。相反地在他心中，却对已经离异的前妻（水野美纪饰）与女儿有着依恋。在这空白的5年当中，究竟发生了什么事情，为什么离婚，又为什么有现在的婚姻，解决这些疑问的唯一线索，只有家路久手中的十把钥匙。为了寻找真正的自己，解开所有的谜团，家路久决定以钥匙一一打开通往过去的门。

一户普通人家，迎来了阳光明媚的一天。此时此刻，老夫老妻还沉浸在梦乡中，这时一通电话吵醒了他们的美梦。当然电话另一头的消息更令他们兴奋不已，那是夫妻俩的女儿，远在异国他乡留学的女孩此时正准备坐上飞机，回到父母的身旁。夫妻俩一下子来了精神，他们蹦下了床，各自忙碌起来。有的打扫房间、整理家务，有的买菜做饭、通知亲朋。经过一阵紧张忙碌，一桌子丰盛的美食终于做好了。他们等啊等，却始终没有等到女儿的敲门声。夜幕降临，白雪飘飘。夫妻俩相偎相依，等待游子归来…… 　　本片为中国传媒大学2015级毕业生的毕业作品。