MP
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导演：
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Edward L. Cahn
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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.
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Peter O'Fallon
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四名富家子为了营救其中一人被绑架勒索的妹妹，竟然合谋绑架了当地的黑道老大，将他放置在另一不知情好友父亲的渡假别墅中，然后肋迫他运用黑道力量打听到绑架的歹徒，并付出二百万美元赎金。不料整个绑架事件竟是一个精心圈套，真相在最后才揭穿。类似本片的剧情架构在美国的独立制片中常被采用，但本片编导仍成功地掌控了老大与富家子之间的心理角力游戏，利用“绑架案有内奸”的秘密信息引起几个好友之间的互相猜疑，从而使后半段的发展显得峰迥回路转。而老大的手下和绑匪这两组黑道搭档则明显有昆汀泰伦提诺式的饶舌和搞笑作风。克里斯多夫毕肯演出处变不惊的老大游刃有余，几名富家子则由亨利汤玛斯领军。
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Compton Bennett
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弗朗西斯（安·托德 Ann Todd 饰）自幼失去了父母沦为孤儿，被监护人尼克尔斯收养，两人过着相依为命的生活。尼克尔斯在弗朗西斯的身上发现了极高的音乐天赋，于是送她去罗伊尔音乐学院深造。在那里，弗朗西斯邂逅了名为皮特的年轻人。尼克尔斯认为两人之间的这段感情会影响弗朗西斯的学业，于是将她带去了巴黎，很快，才华横溢的弗朗西斯就在巴黎获得了极高的声望，最终成为了红极一时的钢琴家。 回到伦敦之后，弗朗西斯遇见了画家马克斯维尔，两人很快就坠入了情网之中。占有欲极强的尼克尔斯当然反对这段感情，无奈之下，弗朗西斯决定和恋人私奔。
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D.J. Webster
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It is the year 2022. A mysterious systems failure causes the crew of a spaceship to be stranded on the dark side of the moon, while rapidly running out of fuel and oxygen. They are surprised to discover a NASA space shuttle floating in space, and board it in the hope of salvaging some supplies....
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约翰·弗兰克海默
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Middle-aged banker Arthur Hamilton is given the opportunity to start a completely new life when he receives calls from his old friend Charlie. The only problem is that Charlie is supposed to be dead. Hamilton is eventually introduced to a firm that will fake his death and create an entirely new look and life for him. After undergoing physical reconstruction surgery and months of training and psychotherapy, Hamilton returns to the world in the form of artist Tony Wilson. He has a nice house in Malibu and a manservant, a company employee who is there to assist him with his adjustment. He finds that the life he had hoped for isn't quite what he expected and asks the company to go through the process with surprising results. Written by garykmcd
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路易·马勒
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70年代末，刚刚开放赌场业的大西洋城正处在新旧时代的交替之中。莎莉在一家合法赌场做女招待，并跟随一个法国人学习如何做庄家，希望有朝一日到拉斯维加斯去赚大钱。和莎莉同住在一间公寓里的巴歇尔，现在是老寡妇格蕾丝的情夫和管家，一直暗恋着莎莉。大卫结识了巴歇尔，利用他贩卖古柯碱，但很快被黑手党杀了。黑手党没有找到毒品，就来找莎莉，巴歇尔杀掉了两名黑社会枪手，驾车带着莎莉逃亡到佛罗里达。莎莉在汽车旅馆偷走了一部分卖毒品的钱，前往拉斯维加斯寻梦，巴歇尔虽然知道但也没有阻止。巴歇尔给格蕾丝打电话说自己是警方通缉的凶手，便又回到了大西洋城。两个人卖掉剩下的毒品，沿着海滨大道愉快地散步，身后是正在飞速变化的大西洋城。
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Mimi O'Connor
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在乔布斯离世后，全世界的人们用各种方式纪念这位富有远见的天才，而授权版乔布斯传记作者Walter Isaacson也揭示了许多关于乔布斯私人生活的细节，PBS电视台将于11月2日播放纪念乔布斯的新纪录片“Steve Jobs - One Last Thing”，片中将会将会有大量曾经与乔布斯合作的采访片段。 其中包括苹果联合创始人Ronald Wayne，投资NeXT电脑的Ross Perot，“华尔街日报”主要技术专栏作家Walt Mossberg，黑眼豆豆乐队制作人will.i.am，苹果第一代鼠标设计师Dean Hovey，PBS系列片主持人Robert Cringely，里德大学书法教授Robert Palladino以及介绍Woz和Jobs相识的Bill Fernandez。 该纪录片还会包含从未播放过的1994年采访乔布斯的片段。乔布斯对生活的理解塑造了他的人格，这也使他为很多行业带来革命性变革。Steve Jobs - One Last Thing”将于下周三，11月2日晚上10点在美国的PBS电视台播出。
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史蒂文·索德伯格
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以处女作《性、谎言、录影带》一举成名的新进导演史蒂文．索达伯格，在接下来的作品中出人意料地选择了一个十分冷门的题材，从小孩子的角度来反映三十年美国经济崩溃时期的贫民生活是如何刻苦艰辛熬过来的。剧本根据美国作家A．E．贺契纳的童年回忆改编，主人翁是小学生，其父是推销员，其母生病住院休养，弱弟弟被逼送到亲戚家寄养。他一个人住在小旅馆中，依靠朋友的帮忙和自已的随机应变来应付三餐不继的生活。全片并无完整故事，但导演透过一些生动的细节描写和演员的生动演出重塑出一个特殊的时代，童星杰西．布拉德福德长得十分英俊可爱，表现也出奇的精彩。
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恩斯特·刘别谦
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汤姆（弗雷德里克·马奇 Fredric March 饰）是一名内心怀揣着远大理想的剧作家，而乔治（加里·库柏 Gary Cooper 饰）则是一位名不见经传的小小画家，两人同为文艺界人士，在巴黎合租了一幢公寓。一次偶然中，汤姆和乔治邂逅了名为吉尔达（米利亚姆·霍普金斯 Miriam Hopkins 饰）的女子，两人同时被吉尔达与众不同的魅力所深深吸引，坠入了情网。 然而，夹在这两个男人之间的吉尔达无法做出选择，于是想出了一个注意，那就是住进汤姆和乔治家中，督促他们创作作品，就这样，一段奇怪的三角关系形成了。为了创作一部话剧，汤姆需要返回伦敦待一阵子，他十分担心在他不在的这段时间里，乔治和吉尔达之间会擦出火花。
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阿尔弗雷德·希区柯克
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英俊帅气的约翰尼·依斯咖斯（加里·格兰特 Cary Grant）在火车上邂逅羞涩美丽的女孩丽娜·艾美斯莱德劳（琼·芳登 Joan Fontaine饰）。单纯善良的丽娜很快就被这位外表充满魅力的男人所吸引，却不知道约翰尼实际上是一位嗜赌如命的瘾君子。当得知丽娜是一位拥有大量财富的千金小姐后，约翰尼更是使尽浑身解数去追求她。很快，两人结婚。然而就在两人的蜜月期间，丽娜发现了约翰尼很多可疑之处，她开始害怕丈夫为谋取财产而杀害她。面对居心叵测的约翰尼，终日惴惴不安的丽娜害怕自己就是下一个受害者。 由著名悬疑惊悚大师阿尔弗雷德·希区柯克于1941年执导的悬疑影片《深闺疑云》，荣获1942年第14届奥斯卡金像奖最佳女主角奖及最佳影片提名和最佳配乐提名。
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大卫·柯南伯格
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加拿大导演戴维．克罗南伯格执导的本片，主要描写骇人听闻的疯狗病，受传染的人会口吐绿液，双眼发光，并且见人乱咬，几个小时后即不治而亡。美国著名的“性”星玛里琳．查姆伯丝扮演的罗丝小姐幼时曾患过疯狗病，因车祸受伤引起病毒复发，腋下竟然不可思议地长出一个嘴巴，而且内有一个可伸缩自如的肉刺，专用来插到别人身上吸血。于是，她在一个接一个吸别人血的同时，也把疯狗病迅速传播，使城市瞬间成为疯人满布的人间地狱…… 影片评价 仅仅就身体变异而言，克隆伯格的独特之处在于处处不忘对色情幻想进行扭曲，无论是《狂犬病》（Rabid）中女主角必须由腋下长出一只阴茎来对其阴道作出支撑，还是《录像带谋杀案》（Videodrome）中男主角长出阴道般的裂口，都是这种扭曲的必然，连录像带的转子，都像双乳一样扭动。《录像带谋杀案》其实还有一个原来设想的结局，就是一男（男主角麦克斯）两女（尼基和卞卡）合体，同时以各自的变异性器官相互绞缠吞噬。在《赤裸的午餐》(Naked lunch)中，那个最终撕开男性外皮露出女体乳房的总裁如果还不够刺激，等你意识到她的装束是女同施虐的标准配备，就会有格外的颤栗。
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斯坦利·库布里克
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拳击手大卫•科登（Jamie Smith 饰）独自住在一间简陋的公寓出租房内，窗户对面住着一个美丽的舞女格萝蕾拉（Irene Kane 饰），大卫渐渐为之所吸引。 某晚大卫比赛归来，突然发现格萝蕾拉正要被人强暴，他冲进去拯救了心上人。原来强暴者是格萝蕾拉所在夜总会的老板（Frank Silvera 饰），为了生计不得不忍辱负重。两个失意之人情谊相合，遂约定离开伤心地，寻找他们的幸福。大卫外出筹集旅费，而夜总会老板在得知格萝蕾拉即将离开的消息时勃然大怒，派出打手绑架了她…… 本片荣获1959年洛迦诺国际电影节最佳导演奖。
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阿诺德·拉文
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When FBI Agent Zack Stewart is killed, Agent John Ripley takes over the three cases he was working on, hoping one will lead to his killer. The first involves gangster Joe Walpo and Ripley finds his hideout through Joe's girl friend, Connie Anderson. Joe is killed but it is established he was 400 miles away when Stewart was murdered. The next involves a car-theft gang which Ripley breaks up by using one of the gang, Vince Angelino and his wife Julie. The last case involves Kate Martell, the victim of an extortionist who threatens to kidnap her child unless she pays him $10,000
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约翰·斯瓦布
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Seen from the perspective of a law enforcement officer, the heads of a criminal network and its victims, John Swab’s kinetic, pulse-raising thriller details how fentanyl is crippling the American heartland and pushing US society perilously close to the point of collapse.