映秀（千正明 饰）是个心眼像针尖一样小，特别喜欢斤斤计较的男人，可以为了一丁点小的蝇头之利毫不顾忌颜面，因此完全没有魅力可言，更是百分之百的恋爱绝缘体。当然，对于映秀来说，性感火辣的女人并不比超市的打折优惠券更有吸引力。某日，在咖啡馆中，映秀邂逅了名为熙朱（金敏贞 饰）的女店员，映秀发现自己竟然无可救药的爱上了她。　　无法按捺住内心里对于熙朱的感情，映秀终于决定告白，让他没有想到的是，熙朱竟然也对自己颇为倾心，两情相悦的两人很快就走到了一起，携手步入了婚姻的殿堂，映秀觉得自己或许是这个世界上最幸福和最幸运的男人。某日，映秀意外的发现了一本相册，里面全都是熙朱打扮成性感耶电女郎的照片，发现了妻子秘密的映秀决定彻底调查事件的真相。

　　主人公黎明和雅楠就像我们身边的大部分年轻人一样，在走进社会，面对工作抉择和生活情感的压力，渐渐丢掉了自己梦想，迷失了生活的方向，缺少了爱的勇气。黎明有对漫画的热爱，但却迫于现实的压力不得不做着自己反感的工作。雅楠乐观正义，却受到父母婚姻的影响，在感情中缺乏安全感的她却不断给生活失意的黎明勇气，让他坚持梦想。二人在相处的过程中彼此建立了信任，情感也随之逐渐发生了变化，彼此从中也都获得了成长。

　　一天，某公司经理王少军和女友云英来到“怡 乐园”舞厅，竟发现自己昔日的旧情人黄芳、杜小 丽、石琴、刘瑛都在。随后，王少军上楼，被一 把手术刀刺倒在地。刑警队长许树槐确定这是一 起情杀。脱离危险的王少军称凶手是石琴。经查 ，石琴没有作案时间。这是，刘瑛来信，称是自 己干的。许树槐渐渐了解到，王与多名女子有瓜 葛，这些姑娘都恨不负责任的人，但他们都自称 是凶手。这时，真正的凶手—石琴的孪生妹妹仇 静茹只身来到公安局。

　　电影描绘了四个姐们和她们处在世界的关系，我个人认为女汤在此是个隐喻，代表着污垢的洗涤和向往纯净的心愿，殊不知女汤大池洗不掉性别的注定，汤汤水水下暗浮着多少无法更改的性别沧桑。　　影片里王嫣养了一只猫，在人和宠物之间，存在的假面阻隔了心的感受，寂寞总是有着慌张的影子露出内心的凄惶，在华人的世界学历就像双刃剑，伤了对方也害苦了自己。　　午夜的寂寥里，走过屋脊的猫叫了。　　39岁的处女王嫣确实是稀有动物，专家是口里的干活，明眼人可以在细微举止里解读出内心的话语，只要不是同志，总是希望有个异性成为对应和参照。　　心钰却遭遇了最大的难题，一个婚后发现自己性趋向有问题的女人备受煎熬，从《女汤》里我们可以读到10数年来华人世界对此问题的宽容和理解，而同志问题的曲解也因为社会的开明而变得不再是个话题，关于同性的认知在当下已经可以定位准确，将同性恋者描绘成双性恋（不同的命题）是对这个亚文化群体的不合常理的描述。　　无论是同性恋还是异性恋他们都是我们的兄弟。　　作为情感，付出和得到都是相对的，只要选择了就不要后悔，所有的不开心来自于不知舍得，在女人的世界里争宠的结果往往让自己一败涂地。　　等待其实是美丽的，不过现实之中人因为私利而越界，最终让所有的人进入尴尬，这样的游戏还不如不玩，三个人或者更多角的故事在快餐的年代都不是令人惊愕的，那么既然选择了爱或者选择了情感的付出，学会无怨无悔就是戏的低限。　　情感和肉欲是不存在谁欠谁的？！

　　经历了一场情感浩劫后的小美，常常被噩梦吓醒，她准备和好友陈露露去山里度假，想尽快忘掉不愉快的事情。陈露露男友李东尔近期与一位美女交往密切，而且正在策划要将她们困在山中。　　这天小美三人开车刚进入山区，车就坏了，只能住在一所农家院。危险也慢慢逼近了他们，先是杨过失踪，接着是小美和陈露露被打晕，两人的手机也莫名其妙地不见了。此时李东尔与诺冰正在热恋，他们知道陈露露一时间是不会回来的。　　杨过的表哥也出现在山里，与农家院大叔走得很是密切，他们到底有什么不可告人的秘密？看似憨厚老实的奇葩大叔和傻乎乎的儿子，到底是不是最终祸首？此时的他们也将面对正与邪，善于恶的较量。

　　这是一个爱恨交缠的故事,这是一个杀机重重的故事，这是一个让人扼腕泪落的故事。在老上海的靡靡之音里，两个血性女子展现了她们非同寻常的一生。

　　

　　恩津加是复杂、迷人、无畏的17世纪恩东戈和马塔姆巴王国（现安哥拉）的女战士。作为国家的第一位女性统治者，恩津加因其将政治和外交技巧与军事能力相结合而赢得了声誉，并成为抵抗的象征。

　　

　　身怀太极绝学的柳牧凡经营着一家武馆，一身正气的他以惩恶扬善为己任，因不耻代人作恶，不想竟惹上仇家，最终在徒弟们的帮助下，歹人被绳之以法，恋人董瑶亦终于打开了10年的心结，投入到他的怀抱。

　　PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.　　We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.　　PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,