破产警长本·沃茨(布鲁斯·威利斯饰)守卫着乔治亚州一个小镇上富有居民的秘密。一天，三个不法分子劫持了镇上著名的医生作为人质，市长查尔斯向警长施压，要求他出动击杀这三个不法分子，并消灭所有目击者。随着时间的推移，本·沃茨意识到他其实也是大局中的一枚棋子。

一个情人节晚上，一对年轻的男女情侣被人发现横尸于情人巷内。经过调查，令人尴尬的是他们竟然已经各自成家，令到他们的家眷都惊讶不已。一晃13年过去了，当年的女遇害者的丈夫汤姆警长（Matt Riedy 饰）一直都还在和女儿曼蒂（Jori Wanquist 饰）因为当年妻子的死而闹别扭；而男遇害者的配偶潘妮（Suzanne Bouchard 饰）一直都还在努力向儿子麦可隐瞒当年父亲死亡时的情形；当年的命案阴云一直还在两家人的头顶盘旋。更糟糕的是，当年的命案凶手越狱成功了，又一年的情人节即将到来！

Jim Ackland, who suffers from a head injury sustained in a bus crash, is the chief suspect in a murder hunt, when a girl that he has just met is found dead on the local common, and he has no alibi for the time she was killed.

　　一个美丽的爱情故事的危险。我们的未来取决于一个惊人的花朵和动物区系组成的蜜蜂，蝴蝶，鸟类和蝙蝠，这也让这些物种重现之间的爱情故事。精致，优雅，花不内容是美丽极致的象征。相反，其鲜艳的色彩和异国风味的，有那么多的奇迹，吸引传粉昆虫和醉欲望。所有这些动物都参与其中三分之一的庄稼，舞蹈的诱惑，没有它，我们可以生存在一个复杂的舞蹈...花粉的全球食品链的无名英雄。他们的梦幻般的世界充满了故事，戏剧和美丽。虽然脆弱，威胁，这个星球的平衡至关重要，它现在应该积极保护......

　　Successful architect Will Roberts organizes a grand surprise birthday party for his wife Mandy with their daughter Kelly and college days friend, only to be told afterward she wants a divorce to lead her own life. Soon each spouse commits to another lover.

　　《植物的欲望》改编自迈克尔·普兰（Michael Pollan）的同名著作。　　本片讲述了四种日常生活中常见的植物以及它们如何让人类喜欢它们的故事。1983年，迈克尔·普兰与他的妻子离开纽约城，到一个被遗弃的奶牛场定居。普兰幼时一直对园艺十分着迷，再加上他对自己把握自然的能力深信不疑，他开始开垦自己的花园。那时的他还不知道这一行动最终促使他开始重新思考人与植物的关系，也成就了他的《植物的欲望》这本书成为书架上的畅销货。本片将带领观众走遍全世界，从位于秘鲁和美国爱达荷州的马铃薯菜园到哈萨克的苹果林，从阿姆斯特丹的郁金香市场到美国的医用大麻的培养室，探寻马铃薯、苹果、郁金香以及大麻的自然史，得出结论：人类对它们的渴望使它们的命运与我们息息相关。本片由迈克尔·施瓦茨（Michael Schwarz）执导。

描述一个骑兵队的斥候与印第安酋长之间的敌意因一场格斗而化解，双方并签下和约。

　　Jonathan is a very lonely man. One day, he gets a visitor in his house: a young woman who, through a jarring turn of events, ends up dead. He does not report it because he is happy to have a friend, but now the body begins to decay.

　　故事发生在车水马龙的繁华大都市巴黎，卡洛塔（Mary Fabian 饰）是一名歌剧演员，某日，剧院之中忽然现身了神秘的幽灵，威胁卡洛塔必须放弃她在歌剧《浮士德》中的角色，并将这个角色让给一位名为克里斯汀（玛丽·菲尔宾 Mary Philbin 饰）的女子扮演。克里斯汀和幽灵之间是怎样的关系呢？　　原来，幽灵的真身是一直以来潜伏在剧院中的一名头戴面具的男子，一场意外令他的容貌尽毁，变得恐怖狰狞，无奈之下只好戴上面具，躲藏在墓地里。某日，克里斯汀的出现吸引了他的注意，他发现自己已经深深的爱上了这位美丽的女子，于是决定现身将她挟持。起初，克里斯汀十分害怕这位诡异的男子，然而，随着时间的推移，克里斯汀渐渐发现，这恐怖的幽灵亦有温柔善良的一面。

　　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.