Na
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导演：
/温里希·科尔贝,Georg Fenady,西德尼·海斯,Harvey S. Laidman,Jeffrey Hayden,伯纳德·麦克埃弗蒂,Bob Bralver,查尔斯·贝尔,Charles Watson Sanford,Roy Campanella II,Gino Grimaldi,Gilbert M. Shilton
剧情：
A lone crimefighter battles the forces of evil with the help of an indestructible and artificially intelligent supercar.
导演：
/Donald P. Bellisario
主演：
剧情：
飞狼虚构的角色霍克（史特林费洛8231霍克Stringfellow Hawke），身分是飞狼原始试飞员之一，受雇于“某公司”（The Firm，实际上是负责制造飞狼的中情局分处），任务是将飞狼从它的原始设计者，莫飞（查尔斯8231亨利8231莫菲特）博士（Dr Charles Henry Moffett），手中偷回来。因为博士打算把飞狼卖给利比亚。然而成功夺回飞狼的霍克（史特林），却不打算把飞机还给中情局，而是以交出飞狼为条件要求山姆大叔（Uncle Sam，美国的昵称），让“某公司”去寻找他失踪的兄长霍辛金（Saint John）的下落。辛金是在参与越南作战时失踪（MIA）的。系列电视系列剧中也描写到美国政府一直亟于找出霍克（史特林），因为他老是用他藏在内华达沙漠“天神谷”中的新玩具耍得他们团团转。最终大天使与霍克（史特林）之间的交涉终于成立，CIA必须提供美国政府企图逮捕霍克（史特林）的相关情报，并协寻辛金的下落，而相对的，霍克（史特林）也必须适时出动飞狼，为CIA的作战助一臂之力 ……@yakutv.cc
导演：
/马里奥·巴瓦
剧情：
这是一部以营造气氛见长的经典恐怖片，讲述1630年一个女巫和她情人被她自己的兄弟杀死。两百年后，两人复活，向她兄弟的后代（其中有一个酷似女巫）复仇。 跟多数意大利恐怖片一样，本片的故事并不特别，但哥特式的场景阴森难忘。故事灵感来自果戈里小说。女主角一人分饰两角，暗示善恶之间只有一线之隔，演绎起来的样子就像是神情恍惚的肯尼迪夫人。 * * * * * 众多恐怖电影迷们都以为他们的钟爱己在Universal、Hammer、Roger Corman和其他一些著名的恐怖电影制片室和生产商摄制的各类影片中得到了实现。其实只有当你到阳光灿烂的意大利对满布阴霾的意国电影走走看看时，你才算真正经历了经典的恐怖电影。 Black Sunday (1960) 又名 The Mask of Satan：意大利电影制作者再次着手恐怖电影的拍摄已经是四年以后了，在Renato Polselli同样受欢迎的《The Vampire and the Ballerina》(1960)之后，摄影师Mario Bava首次作为导演浮出水面，创作了一部代表性的恐怖电影，这宣告恐怖电影作为一种电影类型从此诞生。 The Mask of Satan是真正意义上的恐怖电影代表作，故事大致源于果戈里的《the Viy》，它讲述一个处死二百年后的巫婆复活人世开始报复当初处死她的人们的后代，然而这个故事相对于Bava那几乎要跳出屏幕般的特殊视觉效果而言稍显次要，他的构图如此复杂，以至于影片的每一帧都可以被放大并挂在墙上，光与影的强烈对比营造出有什于Universal公司早期作品的恐怖效果，Bava创造出一出惊心动魄的神怪故事，充斥了巫婆、幽灵、秘密通道、凄叫的野狗、恶毒的公车司机甚至包括对着路人张牙舞爪的树枝。每一位看完此片的恐怖电影迷都着实大开眼界。 这部影片在意大利取得成功并预示着Bava执导生涯的开始，它在美国经过删改后冠以《黑色星期天》（Black Sunday），同样大受欢迎。虽说它经过了修改，但基本上还是保证了原作的汁味，并一着被能在首映时有幸一睹的美国电影迷们津津乐道难以忘怀。影片取得成功的一大功劳归于片中的影星Barbara Steele，这部作品标志着Barbara Steele演艺生涯的发韧，之后她又在九部义大利恐怖电影中担纲主演，每一部都因她的表现而亮色。她那阴暗的造型、冷淡的情欲使她自然而然地适演恐怖片，由她演出的多数电影取得成功都与她的表现密不可分，她的另外几部意大利恐怖电影为：《The Horrible Dr. Hichcock》（ 1962）、《The Ghost》（1963）、《Long Hair of Death》（1964）、《 Castle of Blood》（1964）、《Nightmare Castle》（1965）和《She-Beast》 （1965）、 《Terror Creatures from the Grave》（1966）、《An Angel for Satan》（1966）。
导演：
/Narciso Ibáñez Serrador
剧情：
为了寻觅清静，汤姆（Lewis Fiander 饰）和身怀六甲的妻子伊芙琳（Prunella Ransome 饰）来到了地处偏远的阿尔曼索拉岛上，这里和煦的天气和秀丽的风光让汤姆心旷神怡，但细心铭感的伊芙琳却发现了其中的诡异。原来，这是一个只有孩子却没有成人的岛屿，对于这一发现，伊芙琳感到十分不安，但他们并没有就此离开，地狱的大门就此打开。 很快，岛上的孩子们就露出了他们真实的面目——残酷、暴力、泯灭人性，这座岛上之所以没有成年人，是因为他们都死在了孩子们的屠刀之下，面对汤姆和伊芙琳这两位不速之客，孩子们发起了攻击。在追杀之中，身为生物学家的汤姆逐渐发现，一种奇异的病毒，是导致这些孩子们如此疯狂的根本所在。
导演：
/Michael Soavi
主演：
剧情：
A troupe of struggling stage actors is rehearsing for a small-town production of a play. Everything seems to be as it should until one of the cast members turns up dead. In a panic, the others try to get out, only to find they are now locked in the theater with the killer! Which one of them committed the murder, and who will get out alive?
导演：
/F·W·茂瑙
剧情：
上帝和魔鬼梅菲斯特（爱米尔·强宁斯 Emil Jannings 饰）以浮士德的灵魂为赌注打赌，梅菲斯特坚称饱读诗书满腹经纶的大学士浮士德（格斯塔·埃克曼 Gösta Ekman 饰）会在欲望的引诱之下日渐堕落，而上帝则相信浮士德的理性终究会打败欲望。 梅菲斯特化身成为一条黑狗来到了浮士德的身边，并且成为了随时随地满足他任何愿望的仆人。在梅菲斯特的带领下，浮士德返老还童成为了神采奕奕的青年，并且邂逅了单纯善良的玛格丽特（卡米拉·霍恩 Camilla Horn 饰），在梅菲斯特的作弄之下，玛格丽特坠入了爱河，却在意外之中误杀了自己的母亲，她的哥哥亦死在了浮士德的手中。绝望的玛格丽特最终因为杀死了自己的孩子而被关入了监狱之中，而浮士德的旅途却并未走到尽头。
导演：
/富兰克林·沙夫纳
剧情：
绰号巴比龙的亨利·查理尔（史蒂夫·麦奎因 Steve McQueen饰）正要被流放到圭亚那一个名为“魔鬼岛”的苦役营终身服刑。查理尔因被控杀害一名皮条客而被捕入狱，可他始终认为自己是冤枉的。在押运船上，身强力壮的查理尔保护了一个带着眼镜狡猾的知识分子路易斯·德加（达斯汀·霍夫曼 Dustin Hoffman饰）。为了洗刷自己的罪名，查理尔从他踏上“魔鬼岛”的第一天起，就开始在德加的帮助下策划越狱逃跑。然而“魔鬼岛”地处荒蛮之地，四面环水，并且到处流行着可怕的疾病。查理尔一次又一次地逃狱，又一次再一次地被捉回。十多年来，他仍孤注一掷地抱着一袋椰壳跳下大海逃生。 美国经典越狱冒险剧情片《巴比龙》，根据法国囚犯亨利·查理尔于1969年发表的同名畅销书籍《巴比龙》改编而成。巴比龙是亨利·查理尔的绰号，绰号得名于他胸前蝴蝶形的纹身。本片荣获1974年第46届奥斯卡金像奖剧情类最佳原创配乐提名，并获得1974年第31届金球奖电影类-剧情类最佳男主角提名。
导演：
/Lamberto Bava
主演：
剧情：
西柏林，一家新落成的电影院正在派发电影票，招揽观众。影院首映的是一部名为《魔鬼》的恐怖影片。年轻女孩绮丽儿（Natasha Hovey 纳塔莎•霍维 饰）对影片颇感兴趣，她邀请好友凯茜（Paola Cozzo 饰）一同逃课前往电影院。 途中她们遇到另一伙年轻人，其中一个女人将影片宣传用的面具戴在脸上，却不慎割伤了皮肤。这个不慎的闪失导致了无可挽回的大灾难，该女子变成全身发绿的恐怖恶魔，凡是被她抓伤或咬到的也会产生同样的变化。人们四散逃命，恐怖迅速蔓延。绮丽儿她们该如何逃出生天呢？
导演：
/阿尼什·查甘蒂
剧情：
克洛伊（基拉·艾伦 Kiera Allen 饰）从一出生起就和母亲（莎拉·保罗森 Sarah Paulson 饰）过着相依为命的生活，在她们的世界里，父亲这一角色是从未存在过，也不可提及的。因为早产，克洛伊的健康面临着非常严重的打击，时时刻刻都在遭受着死亡的威胁，可即便如此，母亲也从未放弃过克洛伊，她凭借着自己坚强的力量将克洛伊抚养长大。 克洛伊体弱多病，半身不遂只能依靠轮椅行动，母亲是她和外界唯一的联系，在母亲的帮助之下，克洛伊靠着自学参加了大学的入学考试，正在焦急的等待着考试结果的公布。某日，克洛伊对自己每天都要服用的药物产生了怀疑，通过种种调查，她震惊的发现这些药物正是导致自己无法行走的元凶。
导演：
/亚罗米尔·伊雷什
主演：
剧情：
在得到一对耳环后，Valerie遇到了一些奇怪的事情。她的梦幻冒险开始于她将自己想象成一个面目丑陋的主教的女儿，村庄变成了吸血鬼和巫婆的据点。迅速膨胀的性知觉以及更进一步的越轨尝试，使得Valerie必须面对一个挑战并唤醒她的爆炸性的超现实世界。在这部超现实梦幻曲中，梦境与现实的界线是模糊的。
导演：
/路易吉·科齐
主演：
剧情：
Giorgio is a greedy adulterer who makes a deal with a serial killer (Michel Antoine) to dispose of his wealthy wife, Nora. Unfortunately, a thrill-seeking young couple steal the killer's car with Nora's corpse in the trunk, ending up at a run-down seaside villa.
导演：
/Anthony DiBlasi
主演：
剧情：
厌倦了无聊的学业，奎德（肖恩·埃文斯 Shaun Evans 饰）、斯蒂芬·格雷斯（杰克逊·拉斯波恩 Jackson Rathbone 饰）及其女友谢丽尔·弗洛姆（汉娜·斯蒂恩 Hanne Steen 饰）合作进行一项探寻人类恐怖之源的研究。他们采访应征者，请他们讲述各自心中最恐惧的事情。与此同时，这三个人慢慢讲述了各自的心结。斯蒂芬的哥哥死于车祸，因此他对汽车和死亡有着天然的恐惧；谢丽尔的父亲在屠宰场工作，致使她对肉类心生抵触；奎德则在6岁时目睹了父母被破门而入的男子杀害的惨状，血腥的阴影时刻笼罩心头。 他们的研究逐渐接近尾声，但是奎德的情绪却变得越来越不稳定，他最终走向崩溃的边缘……
导演：
/Anthony Cousins,Alexandra Barreto,Rachele Wiggins,杰德·谢帕德
剧情：
Scare Package II: Rad Chad’s Revenge immediately follows the events of the original with the survivors attending the funeral of “Rad Chad” Buckley, which quickly devolves into an elaborate series of death traps centered around Chad’s favorite films, forcing the guests to band together and use the rules of horror to survive the bloody game.
导演：
/Pin Kriengkraisakul
主演：
剧情：
Anyamanee傲慢却内心脆弱，以自我为中心。出生在重男轻女的家庭，使她长期压抑。有天遇见了为人正直善良、无私豁达的Guerkhun。Guerkhun准备给予Anyamanee温暖的爱。因为家庭成员包括兄弟Chanuch的去世，两个人的情路并不顺利。同时由于嫂子Pimrata，Guerkhun成为了嫌疑人。Pimrata是一个温柔甜美的女人，在她的生活中拥有完美的东西。她为离开前任嫁给Anyamanee的哥哥Chanuch而后悔，即使为时已晚，她也想和前任复合。
导演：
/Herbert Wilcox
主演：
剧情：
Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
导演：
/Herbert Wilcox
主演：
剧情：
Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
