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Mark Pavia
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这晚，纽约州又一名机场管理员巴克暴毙在停机坪上，尸体乾瘪瘪的被人完全抽干了所有的血。这一事件震撼了新闻界，因为先前在缅因州也发生了类似的命案，于是，“吸血鬼复活”的传言传遍了美国的大街小巷，一时人人惊慌。这晚，在马里兰州雷雨之夜，身穿漆黑大披风的夜行者再次驾驶飞机犯案，又两位无辜的市民度惨死在他手中，犯案情节竟和《吸血鬼瑞菲》的电影情节一模一样。报社主编莫里森（丹尼•莫纳汉 Dan Monahan 饰）让拥有飞机执照的资深记者理查德（米高•佛瑞 Miguel Ferrer 饰）越州对这一事件进行深入报导，到底还有多少人命丧恶魔之手？
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维克托·哈普林
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Young couple Madeleine and Neil are coaxed by acquaintance Monsieur Beaumont to get married on his Haitian plantation. Beaumont's motives are purely selfish as he makes every attempt to convince the beautiful young girl to run away with him. For help Beaumont turns to the devious Legendre, a man who runs his mill by mind controlling people he has turned into zombies. After Beaumont uses Legendre's zombie potion on Madeleine, he is dissatisfied with her emotionless being and wants her to be changed back. Legendre has no intention of doing this and he drugs Beaumont as well to add to his zombie collection. Meanwhile, grieving 'widower' Neil is convinced by a local priest that Madeleine may still be alive and he seeks her out.
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雷蒙德·德·费里塔
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纽约附近城岛的监狱看守文斯（安迪·加西亚 Andy Garcia 饰）瞒着老婆乔伊斯（朱丽安娜· 玛格丽丝 Julianna Margulies 饰）到城里上表演课，梦想成为一名演员。乔伊斯瞒着文斯抽烟，女儿和儿子也都有自己的大小秘密，一家人各自为政。有一天文斯发现新转来的犯人汤尼（史蒂文·斯崔特 Steven Strait 饰）竟是自己遗弃二十多年的儿子。文斯把汤尼带回了家，向所有人隐瞒了事实，希望能利用假释好好照顾这个儿子，让他重返正途。与此同时，在表演课同学莫莉（艾米莉·莫迪默 Emily Mortimer 饰）的鼓励下，文斯参加了一次重要的电影角色面试，没想到这却引起了乔伊斯的误会，造成了家庭危机大爆发…… 本片获纽约曼哈顿特里贝卡（Tribeca）电影节观众票选奖。
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帕特里克·塔特普洛斯
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遥远的黑暗世纪，柯文诺斯的子孙一分为二。血族在维多（比利·奈伊 Bill Nighy 饰）的领导下独行天下，强大的吸血兵团压制极具传染性且无法进化成人的残暴狼族。直到某天，一个神奇的生命诞生，改变了这两个家族的命运。一只母狼诞下有着人类外表的狼人路西安（麦克·辛 Michael Sheen 饰），维多窥见狼人身体内的强大实力，于是对其大量繁殖，并将狼人纳为服务血族的奴隶。奴隶的苦难永无终结，而在这一过程中路西安还冒天下之大不韪与维多的女儿桑雅（罗娜·迈特拉 Rhona Mitra 饰）偷偷相恋。 渴望自由的路西安最终设法解开维多对自己的禁锢，狼人与血族持续数百年的战争亦由此拉开序幕……
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伦·怀斯曼
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狼人和吸血鬼之间的大战还在继续。当麦克尔（斯科特•斯比德曼 Scott Speedman 饰）和西丽妮（凯特•贝金赛尔 Kate Beckinsale 饰）还在企图以自己薄弱的能力阻止这场大战时，阴谋家们的杰作又诞生了――狼人和吸血鬼融合的具有超强能力的种族――“血族”。马克思（托尼•库兰 Tony Curran 饰）便是便是这个种族的第二代。他杀死了父亲，夺取了密钥和西丽妮的记忆，救出了一个是狼人、一个是吸血鬼的被囚禁千年的孪生兄弟，企图一统狼人、吸血鬼和人类三大种族。 麦克尔和西丽妮这对恋人为了爱，他们必须挫败马克思的阴谋、打败囚禁千年的孪生兄弟……
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Irwin Allen
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The boisterous, arrogant professor Challenger, a reputed biologist and anthropologist, dares the London Zoological Society to mount an expedition to verify his spectacular claim, without physical proof, that his previous expedition to the Amazonian basin found live dinosaurs. Apart from him and his 'socialite' counterpart, professor Summerlee, it consists of experienced discoverer Lord Roxbury, the young reporter Ed Malone -who got publicly struck down with Challenger's umbrella at his arrival- and Jennifer Holmes, Malone's news agency's boss's daughter, essentially as conditions for putting up the money. In Brazil they are joined by Jennifer's brother David and local 'guide' Manuel Gomez. They soon discover the dinosaurs are real and dangerous, like giant spiders, but loose their helicopter and thus are desperate for a way down from the isolated plateau. They learn Roxbury knew about the fate of Burton White, an explorer whose diary they find, thus presume to be dead, in search of diamonds, and confirmation of the local tribe being the lethal guardians of the plateau's secrets, but also get surprising help...
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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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康拉德·卢克斯
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Hauntingly Beautiful This film is stunning in its beauty. The music is transcendent. For the longest time I tried to get the soundtrack. To save you the trouble, be aware that they never made one! There is one scene in which a woman blows on a shell that was so powerful I still remember 30 years later. Mesmerizing. If you have not seen it yet, rent it today.
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Seth Holt
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佩妮（苏珊·斯塔丝伯格 Susan Strasberg 饰）的父母在她很小的时候就离婚了，一直以来，佩妮都跟着母亲生活。一场意外夺走了母亲的生命，于是，孤苦无依的佩妮接受了父亲的邀请，前去和父亲以及继母一起生活。然而到了父亲家，佩妮却发现在那里的只有继母一人，虽然这个女人表现得非常的和善与热情，但佩妮还是对她充满了戒备。 继母家里发生的各种诡异的事情，以及始终下落不明的父亲让佩妮的神经越来越紧张，渐渐地，她开始分不清，在这里经历的一切，究竟是不是自己的幻觉。很显然，继母也希望佩妮产生这让的自我怀疑。
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Buddy Cooper
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A group of teenagers decide to take a vacation at the beach house of one of their fathers. The kid whose father owns the house just happened to accidentally kill his mother when he was a child. When they get to the house, the father has mysteriously disappeared.
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让-吕克·戈达尔
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Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract need for guidance of Germany following the fall of the Berlin Wall.
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皮特·沃克
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A singer holes up at a sinister estate to write new songs for his act. The ghost of his murdered wife begins to haunt him, then the person who actually killed her shows up at the mansion.