清末民初，阿牛(黄日华)本為何家東村男工，一向安於現狀，生活愉快，他與青梅竹馬的女工春梅(庄静而)感情甚佳，更視她為結婚對象。可惜，春梅不甘奴僕生涯，常好高騖遠，更希望有朝一日飛上枝頭變鳳凰，二人在思想上日漸產生隔膜，令阿牛對這段感情開始抱有懷疑的態度。 何家少爺自省城返鄉，因被發現為革命黨，性命危在旦夕，何老爺愛子心切，遂將阿牛頂罪。就在阿牛被判斬首行刑之前，春梅偷偷將他救走，二人更結成夫婦，但因一次誤會，從此各散東西。阿牛以為春梅已死，惟有加入山賊行列，開始流亡生涯，由於他為人義氣，與眾山賊形同家人。

小波儿本性纯良，无奈父亲百贵病重，她只能被迫靠伴舞维持生计。小波儿坚守洁身自爱，却因此常遭到大班林金凤的奚落。和小波儿是青梅竹马的孤儿阿牛，自幼被欧医生收养并培养成材，他乐于助人、关爱贫苦百姓。不过童年时阿牛曾遭金凤狠心对待，所以对欢场十分痛恨。金凤趁机利用小波儿的美貌去诱骗旧相好李成。小波儿走投无路，只能卖身来偿还债务。有一天，小波儿和李成去舞场，父亲想上前阻拦，反而被李成痛打一顿，还因此病情加重卧床不起。小波儿的弟弟慧儿和母亲误解她自甘堕落，离她而去。这时，小波儿发现自己怀孕了，可李成却始乱终弃。后来小波儿不幸小产，好在阿牛多次安慰鼓励她，她决心振作起来，努力克服逆境。

羅馬、張揚合導的《阿牛入城記》以阿牛（野峰）這個大鄉里來到香港，目睹香港低下層社會的光怪陸離，有悲有喜，有血有淚。阿牛生性戇直常常被人利用，周大叔（王沙）帶他做賭檔「睇水」，他以為是看著一桶水，大出洋相。阿牛做過很多工作，不時被壞份子利用如幫人「捉黃雞」勒索、到城寨做「阿牛艷舞」等，但阿牛的天真純樸仍得到阿花的喜愛，反映傳統社會的善良信念：天無絕人之路。後來，阿牛到碼頭做苦力，工人罷工，他繼績工作，竟然被打，阿牛自衛釀成大騷動，被拉入獄。結局無疑令人悲哀，卻反映編導的聰明之處，留下尾巴，讓關心阿牛命運的觀眾期待下集《阿牛出獄記》登場。

导演罗马和星加玻谐星野风成功健立了阿牛这个喜剧人物，大受欢迎，第三集《阿牛发达记》，在阿牛这个小人物身上，依然发掘出无穷灵感，笑料源源不绝。罗马塑造阿牛，生性善良戆直，反映出小民乐天知命的人生观，野风的喜剧演绎上乘，不愧为星洲首席笑匠，情节穿插于狂想和现实之间，有喜有悲。这一次，阿牛在街上拾得一袋珠宝，从此生活改变，坐汽车，住大屋，但人性的丑恶也随之而来。周大叔假意叫他签约迎娶书院女，却是卖屋陷阱，阿牛又回复一贫如洗的命运。阿牛回到后巷席地而睡，梦中又见到天降横财……

《阿牛入城記》大受歡迎，導演羅馬、張揚今次聯同梁卓，再度發揮一對星洲活寶──野峰和王沙的喜劇才華，奠定他們為東方「羅路與哈地」的接班人。阿牛（野峰）出獄，再遇愛人阿花（艾蒂），百感交集。為了生活，由澳門回到香港，生活艱苦，阿牛找到工作，又被周大叔（王沙）欺騙，結果被人打到遍體鱗傷，入院急救，醫生告知命不久矣……阿牛一生命苦，生性樂觀，甚得貧苦大眾認同，所有笑料，都能反映當年社會困境，別具辛酸，並非一味胡鬧。

天赋出众的术师叶海，惨遭同门师兄赵渊设计暗算，一身修为尽数消散。走投无路的他改换姓名为叶阿牛，藏身苏家做下人，一边低调避祸，一边潜心重修功法。城中接连出现诡异邪术事端，皆是赵渊手下作祟，叶海数次出手化解危难，却反被对方栽赃构陷。他顺势制造身死假象，借机收集证据，当众揭露赵渊暗中勾结玄阴教，残害同门、扰乱世间的全部实情。风波平息后，叶海完整承袭天玄术法传承，西域楼兰术师鸠摩借联合破阵之名，妄图窃取核心秘术，叶海看穿其图谋，故意传授虚假口诀设下圈套，联合各路同道一同制衡对手，最终鸠摩受术法反噬化作石雕，世间邪乱得以平息。

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.

一场都市生活的闹剧，一次道德底线的碰触，一出令人捧腹又倍感心酸的演绎，一声无奈地呐喊——《贼》这一部高清作品向我们绘声绘色的讲述了生活在都市底层的无业小青年、痴傻的乞讨者以及善于伪装的小偷之间发生偷窃与被偷窃，侮辱与被侮辱，人性的挣扎与沉沦。当这种小人物式的沉重被用一种活灵活现又不失幽默地口吻讲述出来，给人一种加倍的心灵触动，让人深省......

Newly qualified midwife Matthew Bunting (Darren Boyd) is experiencing a kind of re-birth, having given up his life as a police constable in his mid 30s in the hope of finding something more meaningful. He is too warm and caring to be a cop. Arriving in his first job as a junior midwife at Easthill Park Maternity Unit, Matthew makes an instant impact on his new team members. They are led by recently divorced senior midwife Caitlin (Fay Ripley), witty and likeable junior midwife Lisa (Aisling Bea), the extremely no-nonsense senior midwife Pat (Llewella Gideon) and naïve trouble-maker Tash (Jennie Jacques). Matthew has company from his former police buddy Ian (Paddy McGuinness) who gets suspended from the force and lands a job in hospital security, while his nemesis comes in the shape of senior consultant obstetrician Luke Edward (Alex Macqueen). The team have to contend with teenage parents, a ‘double dad’ who has two partners in labour, a pregnant prisoner on release, an incognito celebrity, a major theft from the drugs cupboard and an abandoned baby.

人与人虽然住得近，但心却隔得远。退休的老王主动为大家清扫公共楼梯，还把老旧的墙面重新粉刷。当老王向住户收取公共费用时，邻居们的反应各不相同，其中的滋味老王都记在心里。二楼的老陈不愿意配合刷新公共楼梯，于是老墙和新墙就这么并存着。住户经过时，斑驳墙皮掉落下来，有人对此感到厌恶，有人则毫不在意。“公梯”就像是人生百态的一个缩影。