简介：With only nightmares for childhood memories, Lily Stone returns to her family home to find out what happened to her parents. Despite the locals' warnings about an evil presence cursing the house, Lily crosses the threshold and discovers not all the ghosts that haunt us are dead.

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简介：A year after the death of his wife, a man enlists her sister to help him bring her back.

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A mother must protect her family on Christmas Day from a demented stranger who is hell-bent on tearing them apart.

简介：史蒂芬妮（艾梅柏·希尔德 Amber Heard 饰）和艾莉（奥黛塔·安纳布尔 Odette Annable 饰）正在位于阿根廷的一个小村落中享受着她们难能可贵的美好假期。在小酒馆中，一个长相英俊的男人吸引了艾莉的注意，此时的两人并不知道，这个男人将让她们的假期变得不再平静和安全。　　一次偶然的争吵将史蒂芬妮和艾莉短暂的分开，在头脑逐渐冷静下来之后，史蒂芬妮觉得找到艾莉和其重归于好，没想到，艾莉竟然在神不知鬼不觉的情况下彻底失去了踪迹。在向警察求助无果后，史蒂芬妮决定靠自己的力量寻找艾莉，而在一个名叫迈克尔（卡尔·厄本 Karl Urban 饰）介入了这起事件后，一切都开始变得复杂而又危险起来。

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一个年轻的女人寻求独立，从她的保护母亲，只是质疑自己的理智时，新发现的朋友死了，她的母亲认为汉娜是他们的死因。

简介：1994年的小镇荫城，人畜无害的青年人突然狂性大发，连杀数人。这一恶性案件打破了荫城的宁静，同时也勾起了这座神秘小镇尘封已久的恐怖回忆。在荫城的历史上，每过十几年就会发生一次恐怖杀人事件，荫城由此也被外界称为杀手之都。坊间传闻，荫城遭到女巫诅咒，厄运在所难免。这一天，女子高中生迪娜（基亚娜·马德拉 Kiana Madeira 饰）随队前往隔壁的森尼维尔市参加比赛。这座城市与荫城截然相反，从来没有发生过恐怖事件。迪娜的好闺蜜萨曼莎（奥利维亚·韦尔奇 Olivia Welch 饰）就是为了躲避荫城的诅咒搬来这里，两人也因此友情决裂。可就在这一晚，女巫的诅咒降临到这群年轻人的身上，杀戮再度上演…… 《恐惧街》三部曲改编自R·L·斯坦的畅销恐怖小说系列。

简介：惊悚，冷和螺旋球喜剧 和小比基尼和血腥肢解在这个氯和血浸的谋杀神秘

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当一名记者回到她的家乡调查她童年时最好的朋友的失踪时，她长期潜伏的跟踪者重新出现。

简介：本片受到《黄油盒婴儿》真实故事的启发，是一部曲折的超自然惊悚片，也是向《闪灵》、《罗丝玛丽的婴儿》、《9号谋杀案》等经典慢热恐怖片的致敬。影片讲述了一对夫妇为了给妻子庆祝生日来到一个乡村酒店度周末，但这个酒店其实是一个闹鬼的孕产妇家庭所开，有婴儿和母亲在此被谋杀。由此这对夫妻遇到了一系列惊悚的事情。影片主演阵容强大，由戛纳影后苏珊娜·克莱门特领衔主演。

简介：Tyler医生和他的助手侦探死后, 年轻的警察Peter接受上司的指派, 观看长达几个小时的录像带, 这些录像带都是Tyler医生拍自他的'病人'们, 警方希望能从中找到失踪男孩Matthew的线索. 在观看过程中, Peter开始抗拒这些堕落的镜头但又对此感到兴趣, 他开始屈服于自己的内心的黑暗和下流的欲望, 公然对自己的直男房友产生了欲念. 于是他运用录像带里面学到的秘密, 使计将这个无辜的直男诱骗到自己的床上, 但是同这个无辜的直男做爱时候, 一切都还仅是个开端.

简介：Another of Mike Leigh's efforts in the Play for Today series. Home Sweet Home is the he tragic-comic tale of a lonely postman, the social workers who chivvy him about his estranged teenage daughter, and his secret affairs with the wives of his fellow postmen. "Though the social and economic situations of Leigh's characters are invariably specified, they are not determinative. In his view, institutions don't cause our problems and institutions cannot solve them. Nothing beyond the structure of our own thoughts and emotions can be blamed for our predicament and nothing outside of ourselves can remedy it. The poorest of Leigh's characters could win the lottery, or the richest be forced out onto the streets, without their basic dramatic problems changing. One only has to compare Ken Loach's Ladybird, Ladybird with Leigh's Home Sweet Home or his short, Probation, for the difference between the two viewpoints to be clear. Whereas Loach mounts an institutional critique, the social systems and bureaucracies in Leigh's work are only individuals writ large. Home Sweet Home dramatizes the relationship of two social workers, Dave and Melody, to a client, Stan, and his daughter Tina, but for Leigh the social workers are ultimately just messed-up people. One might say that while Loach looks at the effect, Leigh studies the cause. Loach studies bureaucracies; Leigh examines the individual qualities that make bureaucracies the way they are. The main characters in Ladybird, Ladybird are victims of a social agency's depersonalizing understandings. Leigh refuses to make Stan and Tina victims of anybody or anything. Home Sweet Home makes clear that, even if all of the social workers were to disappear from the universe, Stan and Tina's relationship would not improve one whit (and in fact would very likely get worse, since in the absence of a pushy, intrusive, boorish Melody, Tina would get no visits or trips home at all). There is an ultimate fairness in Leigh's view of life. We get what we are. Nothing is inflicted on us (just as nothing outside of ourselves can save us). We create our own problems and we ourselves must solve them. It would be hard to imagine a view of experience more at odds with the blame-games played by most cultural studies critics. Leigh's characters can never blame anything or anyone–least of all "the system." External forces (figured by ever fashionable ideological concepts like "power," "gender," and "class") have no ultimate authority over what we are. We are responsible for our own fates. The enemy, if there is an enemy, is inside. Odd as it may sound to say it, the writers on cultural studies and neo-Marxist filmmakers like Loach are actually more optimistic than Leigh, for while the social-work bureaucracy (Loach's target) may conceivably be reformed, the human heart and mind (Leigh's subjects) are all too deplorably (and exultantly) what they are for all eternity. I would argue that the institutional critique is in fact the simpler, more superficial, and more naive way of understanding these situations. The labyrinths of the human heart are far more tortuous and Byzantine than the corridors of power that constitute the welfare system. The bureaucracies of the imagination are far subtler and more insidious than those of any man-made institution. And if you say you don't see that or don't understand how that could possibly be, why that is precisely what a work like Home Sweet Home exists to show...." –Excerpted from Ray Carney, "The Films of Mike Leigh: Embracing the World "