探案录骨笛魔音

　　六个身怀绝技之人为了寻找水怪来到喀纳斯。
　　他们中，有人为了成名，有人为了谋财，有人想捕获传说中的异兽……但更有人是为了保护水怪，并探究水怪背后的神秘传说。
　　当神秘的湖圣出现在他们面前，一场惊心动魄的大战拉开序幕……

　　香港高科技商业间谍组织ATM的Jackal（金城武）、Cash（陈小春）、Titan（王合喜）以及他们从未谋过面的秘密首脑Sam（杨采妮）同时受到香港警局情报室主任Stanley（方中信）的邀请，原来Stanley以四人过往犯案的证据及冻结四人账户作要挟，要他们为警方偷取英镑伪钞电模版。
　　四人找来聋哑怪人也是电子高手Phoenix（李绮虹），五人合力取得电模版后，按约定地点和Stanley交易，却不料只等来炸弹一枚， Phoenix被当场炸死，原来要挟他们的Stanley早已辞职，此时他们已被香港警局情报室及政府通缉。为了洗脱罪名，四人决意找回Stanley。

　　故事改编自现代作家曲波的作品《林海雪原》，讲述了东北民主联军一支小分队，在团参谋长少剑波的率领下，深入林海雪原执行剿匪任务，侦察排长杨子荣历经打虎上山、黑话舌战、飞跃天险等冒险，与威虎山座山雕为首的匪兵斗智斗勇的故事。

　　Actors Jackie Shroff and Suniel Shetty have been roped in to star along side John Abraham and Emraan Hashmi in gangster drama Mumbai Saga.

Three people's worlds collide during a historic international cricket test match in Chennai which ultimately forces them to make life-changing difficult decisions.

　　美国人杰克（John Edward Lee 饰）和英国人山姆（Bryon Gibson 饰）是两位侨居泰国的外国人，两人是最好的朋友。一日，两人下定决心抢劫了一家柬埔寨的小银行，却不料其抢劫的正是黑帮老大希兰凯里（史蒂文•席格 Steven Seagal 饰）的黑钱，而 其手下尼伦（Sahajak Boonthanakit 饰）试图篡位，便借此控制杰克帮他做事，杰克为了保护女友阿瓦隆（佩姆•巴比尔 Pim Bubear 饰）只得从命，后来山姆和杰克暴露，山姆被枪杀，杰克杀死了尼伦，和阿瓦隆踏上了逃亡的旅途。

　　庵野秀明 担任脚本·监督 电影『新 假面骑士』制作决定！！！
　　原作： 石ノ森章太郎
　　脚本・監督： 庵野秀明
　　预计2023年3月公开。

都市、一群无知的女孩、面对光怪陆离的世界、迷失了自己。偷盗。抢劫、坑蒙拐骗。自以为仗义行侠、却不知越陷越深......                                    
                               　　本片特邀全国武术冠军王建军主演并兼武术设计、结构新颖、情节曲折、打斗精彩、扣人心弦。

劇場公開日 2015年夏

Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”