白银帝国

本片以清末民初富可敌国的山西天成元票号的传承为主线，再现了“中国华尔街”金融业的百年兴衰。故事以一个风烛残年老人的回忆贯穿全片：天成元掌门人康老爷（张铁林饰）膝下共有四子，但老大天生罹患聋哑残疾，老二生性莽撞好斗在一次意外中下肢瘫痪，老四因新婚娇妻在天津被劫惨死而疯癫，只剩下老三（郭富城饰）可以继承祖宗家业。但康三却对父亲抱有深深的怨恨，原因是他夺走了自己昔日恋人（郝蕾饰）。康老爷希望她可以为康家添丁，继承香火，但是她誓死不从。康夫人曾多次对康三表露心迹，但后者始终对继母礼让三分，不敢越雷池半步。康老爷见北京分号戴掌柜才智过人，遂恩威并用计赚邱掌柜（丁志诚饰），令其死心塌地辅佐少主，然而康三心中却另有打算……本片根据成一的小说《白银谷》改编。

寅次郎的故事5：望乡篇

足迹遍及全日本的寅次郎这次以为叔叔患上了重病，决定返回故乡柴又，暂住叔叔和婶婶家，当然又惹下了不少麻烦。在机缘巧合下，寅次郎搬进一家豆腐店居住，并对老板娘的女儿节子产生了好感。可惜节子已有心上人，寅次郎这次注定又要失恋了。

钱

刘智泰、柳俊烈有望主演电影[钱]，影片讲述普通工薪族投身股票市场后卷入巨大阴谋的故事，柳俊烈饰演工薪阶层主人公，刘智泰饰演证券市场的暗箱操作者。影片预计六月开拍，双方经纪公司均表示已收到提案，正在积极讨论。

冰冻之河

艾迪（梅丽莎·里奥 Melissa Leo 饰）是一名单身母亲，在不久之前，背负了巨额赌债的丈夫席卷了家中全部的积蓄自此消失不见，留下了两个年幼的孩子不管不顾，而面对这一窘境，艾迪也只能咬紧牙关默默承担。为了能让孩子们健康顺利的成长，艾迪不得不参与了当地的非法犯罪活动，尽管充满了罪恶和危险，但面对高额的回报，艾迪无法拒绝。某一天，一名与艾迪境遇相似的女人利拉（米丝蒂·阿哈姆 Misty Upham 饰）找到了艾迪，恳求她带她一同参与行动，拗不过利拉的执着，艾迪答应了。 　　就这样，两个身形单薄的女人上路了，她们此次的任务是穿越冰冻的圣罗伦斯河，除了警察外，恶劣的自然环境是另一大威胁。她们能否顺利的完成任务，而之后的生活又该怎样继续下去呢？

女皇陛下的美男团

母胎单身的现代社畜花染穿越到女尊大冉国，成为皇太女，为了活命，逆转被杀结局，选花魁，救落魄少爷，一改爆虐行为，重新洗牌后的女皇陛下是否改写被美男团围攻的命运？

90年代秀第二季

Netflix续订《90年代秀》第二季。

贤妻

《贤妻》被称为《回家的诱惑》姊妹篇。美丽贤惠的家庭主妇韩大芸饮料公司与身家资产上亿的丈夫赵伯煊(保剑锋 饰)婚后本来非常甜蜜，过着衣食无忧的幸福生活。可是因为大芸只生了一个女儿赵小娟(柴蔚 饰)，因...

残酷

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder.                                                                    “Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much.                                                                    The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

反派师尊的我带着徒弟们天下无敌

包藏祸心

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穿成农家小福星逃荒路上开挂了

激情狂飙

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