备注：已完结
类型：剧情片
主演：蒂尔·施威格 吉恩·莱赫纳 拉尔夫·赫尔福特 Lena Gryczka
导演：多米尼克·阿森尼-吉拉德
语言：其它
年代：未知
简介： 史蒂芬·莱诺是德国特警队的一位队员，工作性质的特殊使他有了仇家—银行大盗团伙，他们准备暗杀史蒂芬，却误杀了他的妻子芭芭拉，史蒂芬一直对此事耿耿于怀，无法从妻子的死的打击中恢复，直到一次执行任务，他的仇恨全部爆发出来，擅自枪杀了银行大盗哈罗夫，他本人因此服刑三年半。刑满释放之后，史蒂芬原想可以平静地与女儿杰西生活下去，但哈罗夫的女友塔嘉娜却不肯放过他，他要亲手毁掉史蒂芬的生活，为哈罗夫报仇，以解心头之恨。于是工于心计的塔嘉娜运用各种卑劣的手段，妄想达到她的目的。先是陷害史蒂芬有投放炸弹,谋杀一位女法官的嫌疑，接着又绑架了史蒂芬的女儿杰西，以此引诱史蒂芬步入她设计的连环计中。史蒂芬和他的朋友卡尔明知会有无数危险在等着他们，但他们却毫不畏惧，为的就是救出杰西，并粉碎塔嘉娜的妄想。经过惊心动魄的枪战与智斗之后，塔嘉娜的诡计一一被史蒂芬识破，塔嘉娜被逼无奈，挟持杰西站在高高的平台上，但由于几天的相处，使塔嘉娜对杰西产生了母女之情，最终她放了杰西，但她仍不想放过史蒂芬，便使用激将法，企图重演哈罗夫死时的情景，引诱史蒂芬朝她开枪，这样史蒂芬就永远走不出心里的阴影，永远痛苦。在这千钧一发的时刻，史蒂芬会如何抉择呢？@神马影院
备注：已完结
类型：动作片
主演：迈克尔·J·福克斯 詹姆斯·伍兹 史蒂芬·朗 安娜贝拉·西奥拉 约翰·
导演：约翰·班德汉姆
语言：英语
年代：未知
简介： 克兰（迈克尔·J·福克斯 Michael J. Fox 饰），一位备受欢迎的好莱坞演员，决定改变他在银幕上的形象，接下一个警探的角色。这是他的一次尝试，试图摆脱以往的角色类型。为了更好地准备这个角色，他前往纽约与真正的凶杀组刑警约翰摩斯（詹姆斯·伍兹 James Woods 饰）合作，决定亲身体验警探的真实生活。 尽管摩斯可能并不欢迎这位好莱坞明星的到来，但他必须遵守上级的命令，带着尼克兰一起去追捕一位连续杀人的罪犯。然而，尼克兰在警探工作中表现得相当笨拙，他破坏了摩斯设计的捉拿计划，让摩斯的每一个任务都以失败收场。
备注：已完结
类型：动作片
主演：霍克·浩根 Hulk Hogan Matthew McCurley L
语言：英语
年代：未知
简介： 男主角雷蒙表面上是小镇的玩具店老板，实际上却是国家的超级特务。为了执行任务，他经常在世界各地飞来飞去，因此而错过儿子的棒球比赛，甚至见不到妻子的最后一面。然而，不管雷蒙怎么隐瞒他的真实身份，仇家还是找上门来，并且让他变成了阶下囚。唯一能挽救他的人，只有当时在场目睹一切的儿子。 本片的故事架构跟阿诺主演的《魔鬼大帝：真实诺言》有点雷同，但制作规模和娱乐效果均相差甚多，职业摔角高手库克霍根饰演这名有口难言特务父亲，企图在这部家庭片中展现亲和力，可惜导演约翰．莫洛斯基拍不出效果。
备注：已完结
类型：剧情片
主演：Lorenzo Lamas Matthias Hues Cyndi P
语言：英语
年代：未知
简介： 强尼是波士顿着名的私家侦探，某次渡假到洛杉矶探视其哥哥，不料匪徒竟公然闯入将其哥哥和大嫂杀死，为了逮捕凶手他做了地毯式的侦探，并得到街头青少年的鼎力帮助，最后发现了绑匪集团的巢穴。
备注：已完结
类型：喜剧片
主演：Matthew Broderick Jeanne Tripplehor
导演：沃伦·莱特
语言：英语
年代：未知
简介： Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.' By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses. Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together. One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around. While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken. Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...
