水怪2026

简介：A young woman is invited by her girlfriend, who lives in an English country mansion, to stay there with her. The estate, however, isn't quite what it seems--and neither is the friend who issued the invitation.

简介：资深刑警崔昌植（孙贤周 饰）新近升职，加上极其器重他的署长跟上层不断美言，崔班长的前途一片光明。谁知正当他春风得意之际，一桩意外突然向他袭来。在和下属饮酒聚餐后，崔昌植乘坐出租回家，不曾想出租车司机将他拉到荒郊野外。对方似乎知道崔班长干过的所有罪恶勾当，一番激烈搏斗后，对方死于崔班长之手。在此之后，他刻意伪装不在场证明，以图瞒混过关。次日一早，受害者尸体竟然被人用吊车悬挂在江南警察局的对面，由此在社会上引起极大震动，而做贼心虚的崔昌植也感觉受到了前所未有的威胁。　　隐藏在黑暗之中的对手是谁？他究竟想干什么？

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罗德尼被送进了Sage治疗中心，并且由一位变态扭曲的保姆来负责照顾。在这段时间里，他一直试图讨好自己的家人和新朋友，但这也为他带来了许多麻烦。于是在诸多压力下，他决定开始反抗。

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《咒怨》导演清水崇执导的“恐怖村”系列电影第三弹《牛首村》发布海报，并宣布由木村拓哉的女儿木村光希主演，这也是她的大银幕出道！ 　　和系列前作《犬鸣村》《树海村》一样，《牛首村》灵感也源自真实存在的灵异场所，这次聚焦日本北陆地区的怪谈事件。

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一对同性情侣带着可爱的亚裔女儿到偏远的林中小木屋度假，被四名持枪的陌生人挟持为人质，为了避免世界末日发生，他们要求这一家人做出一个天人交战的决定。这一家人无法和外界联系，所以必须决定他们是否该相信这件事，否则世界真的将会毁灭。 　　影片改编自保罗·特伦布莱所著恐怖小说《世界尽头的小木屋》。

简介：Thang Máy là câu chuyện kỳ bí xảy ra với những cô gái trẻ khi đi Thang Máy một mình. Mọi chuyện bắt đầu khi Jina đột nhiên mất tích sau khi livestream trong thang máy. Sự cố này gây ra nỗi sợ hãi tâm lý trong tâm trí Trang đến mức cô bị ám ảnh không thể bước vào thang máy ở bất cứ đâu. Cho đến khi người bạn thứ hai - Ngọc - cũng mất tích khi đang livestream trong chính cái thang máy của khu bệnh viện cũ kỹ.

简介：娜奥米·沃茨将主演，并担任制片心理惊悚片[狼的时刻](The Wolf Hour，暂译)。影片由阿利斯泰尔·班克斯·格里芬执导，现独自生活的女主角曾是一名著名的反文化人士，在1977年“山姆的夏天”事件中，她几乎与外界隔绝。当她更甚陷入孤立时，一个看不见的折磨者开始利用着她的弱点。

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故事描述一群朋友虐待林·沙烨饰演的角色，怀疑她是女巫。当林·沙烨饰演的角色死亡后，她的老公（托宾·贝尔 TobinBell 饰）强迫这群人打电话给他已过世的老婆。他们播打电话，而且电话另一头有人接起，一场青少年的恶作剧迅速转变成一场可怕的恶梦。这四名好朋友陷入了地狱通话的世界。

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马特急于救治奄奄一息的妻子，他求助于一个具有黑暗魔法的古老魔袋，但使用魔袋需要进行令人不寒而栗的仪式并遵守严格的规则。在妻子的病逐渐痊愈后，马特却陷入了崩溃状态，他面临着可怕的后果。

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The latest by powerhouse artist-filmmaker duo Christine Molloy and Joe Lawlor picks up a thread from their last film THE FUTURE TENSE, a soulful investigation of Ireland’s tumultuous history. Here, using the form of a heist movie, they tell the true story of Rose Dugdale (played by Imogen Poots), a young heiress who rebelled against her English aristocratic upbringing to volunt...

简介：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.