一个科学家分离出了人类的邪恶血清，却让自己的宝贝漂亮女儿和巨大的远古人类骨骼都成了大恶魔

又名Hercules in the Center of the Earth.

John Cacavas' idea of a James Bond theme plays over the opening credits of this TV-movie spy flick which even features silhouetted buxom women posing in various contortions the same way the Bond films have done for decades. (The film also features a certain musical motif that is exceedingly close to what is found in all the Bond films.) Danson plays a computer expert who is coerced by the government into rescuing a super-computer from the clutches of evil, wheelchair-bound Lee, who intends to rule the world with it. The agent assigned to brief Danson is curvy, smart-mouthed Weller who reports to the authoritative and no-nonsense Parker. Retrieving the computer is only part of the job. Danson also hopes to rescue his doctor friend (Stone) and the doctor's daughter who are being held against their will, a task Parker is only mildly concerned about accomplishing. There is a lot of pseudo-witty banter and quasi-dangerous espionage as the film plays out with Danson and Weller straining for romantic chemistry while carrying out various aspects of a mission in which no one is ever killed. It's James Bond Lite, almost for kids. The whole enterprise reeks of "unsold pilot" with the credits even playing like a TV show opening and the ending setting the scene for possible future escapades. Danson is fairly solid throughout and manages to balance his character's brains and lack of experience pretty well. Weller is often very annoying, chirping Danson's character's name frequently ("Chenault!") and trotting around in foolish skirts, shoes and hairdos, acting like she's some big deal when really she's rather a lightweight herself. Lee is somewhat interesting at times, but could play this role in his sleep and sometimes seems like he's doing so. Parker (an unjustly forgotten actress who graced the silver screen with many wonderful, powerful performances in the 40's, 50's and beyond) is on her last legs here. She looks okay, but does all her scenes seated behind a large table and rattles out loud orders with very little timing or finesse. It's a sloppily done production with many continuity errors (notably in the costuming) and cheap sets. One notably intriguing sequence involves an elaborate maze in which Weller must fight for her life, but it is undercut by the fact that she is really in the same old section over and over with just angle and lighting changes tossed in occasionally. Lester, who plays a henchman here, would soon begin a memorable nine-year stay on "The Young and the Restless".

In Umbracle, an aleatory horror film that paints a critical image of Francoist Spain, Portabella continues his exploration of the language of experimental cinema and develops his aesthetic of combining documentary with reenactment. He worked with Christopher Lee to produce an "ideal and predetermined cliché[d]" image of an actor: "Lee offered to perform my ideas with pleasure. I even managed to get him to do the hardest thing an actor can do: nothing."
Low-budget horror-film star Christopher Lee makes a second appearance as the iconic centerpiece of a Portabella film (CUADECUC--VAMPIR was his first), this time as an imposing but ghostly figure wandering the streets of Barcelona. Through film clips that evoke Chaplin and other silent-era comedians, Dadaist poetry, and mysterious melodrama, Portabella makes a bid for unfettered artistic freedom calculated to scramble the brains of Franco-regime censors.
Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Bunuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. MoMA first screened a Portabella work—Vampir Cuadecuc (1970)—on January 27 and 28, 1972, in its Cineprobe program. After a thirty-five year absence, the Department of Film is honored to welcome Portabella back to introduce the New York premiere of his recently completed The Silence before Bach (2007). Roundtable discussions will also be held at New York University, September 27–28. All films directed by Portabella.

一个小骗子，在寻找彩虹尽头众所周知的金罐，希望通过与巨额财富的继承人交朋友来赚钱

和丈夫离婚后，朱丽叶（希拉里·斯万克 Hilary Swank 饰）的生活走入了低谷，为了重振士气，她决定搬家。新的环境，新的邻居，友好又善良的房东麦克斯（杰弗里·迪恩·摩根 Jeffrey Dean Morgan 饰），这一切让朱丽叶总算是解开了心中长久以来的郁结。
随着时间的推移，一些奇怪的事情开始在朱丽叶的周围发生，预感告诉朱丽叶，有一个充满了邪恶气息的陌生人如影随形般地监视着自己的一举一动。为了找到幕后黑手，朱丽叶在房间里设置了录影机，真相让朱丽叶汗毛倒竖，原来，那个神出鬼没的不速之客竟然正是房东麦克斯。更糟糕的是，当朱丽叶拼尽全力企图接近真相之时，她也正在一步一步的走入麦克斯为她设下的圈套之中。

马克和大卫是最好的朋友，他们都是穿梭在战场的战地记者。1988年春天，他们待在库尔德斯坦的一个偏僻山区的诊所里，等待一场进攻的开始。大卫受够了这一切，他想回到都柏林，回到他怀孕的妻子身边。他最终还是离开了，而马克则承诺几天后也跟着离开。大约一周后，马克受伤回家，但大卫却杳无音讯。马克恢复缓慢，而且反常的行为让他的女朋友埃琳娜感到震惊，埃琳娜请她的祖父（一位西班牙心理学家）来都柏林帮忙。这位无忧无虑、超然世外的记者究竟隐瞒了什么？他是战争的牺牲品吗？
“Triage”原意是“鉴别分级”，医学领域指“分”出被急救者的情况严重程度来排序，在战场则是“分”出哪些伤者无法救治而直接一枪打死。小说作者和负责改编剧本的塔诺维奇本人分别有着随军报道和拍摄纪录片的经历，切身感悟是他们对这一题材感兴趣的原因。

保罗（理查德·帕斯科 Richard Pasco 饰）的父亲和哥哥客死他乡，想要揭开其中真相的保罗来到了他们生前所生活的小镇进行调查。这个小镇上的所有居民都给保罗一种非常诡异的感觉，他们唯唯诺诺抖抖霍霍，仿佛有什么恐怖的东西隐藏在暗夜里，随时都会跑出来要他们的性命一样。
纳马洛博士（彼得·库欣 Peter Cushing 饰）曾经是父亲的助手，这个男人和一位神秘的美女卡拉（芭芭拉·谢莉 Barbara Shelley 饰）的诡异行踪吸引了保罗的注意。卡拉似乎患有一种奇怪的病，经常会昏倒并且失去记忆，而纳马洛博士显然对卡拉情有独钟，担负着她的保护者的身份。那么，父亲和哥哥的死，和这两个人究竟有没有关系呢？

少女Eugenie被父亲的情人接到一座私人小岛上渡假,情人和她的哥哥在岛上不断引诱着她,处于叛逆期的Eugenie乐于做那些出轨的事情,但她并不知道,这一切的背后潜藏着一个邪教进行活祭的秘密.

本片由一位探长调查一间明星失踪案开始，分别阐述了四段围绕在一间老屋的恐怖故事。第一个故事讲述了一对夫妇搬来这间老屋，丈夫是位恐怖小说家，没想到笔下创造的恐怖人物竟然出现在现实生活了；第二个故事讲了一个退休的经纪人搬来这间屋子住，偶然发现小镇上有间蜡像馆，里面有一个叫“莎乐美”的蜡像有着动人的美貌，让他无法忘记，可是事情却越来越离奇；第三个故事讲了一位父亲带着女儿来到老屋，父亲请来了一位女家教教导女儿学习，后来女家教发现女儿和父亲各有蹊跷；第四个故事讲的是一个准备拍摄吸血鬼电影的明星搬来老屋，因为拍摄现场需要吸血鬼斗篷，他来到一家神秘的商店买了一件古老的斗篷，结果让他变成真正的吸血鬼。

1906年，英国人类学家克里斯在中国境内东北地区的山岭中发现一个冷冻的人型怪物，并把它带上了开往欧洲的列车上。但没想到半途中怪物解冻，开始猎杀车上的所有乘客，凡是死亡的人脑浆都被吸干，模样恐怖。虽然车上的军队及时将怪物杀死，但其意识却转移到另一个人身上，于是杀戮继续进行，更可怕的是它还把已死的人变成活死人为己所用。就在事态无可逆转的情况下，幸存的乘客决定把火车销毁……

库尔特-曼里夫过去曾被父亲抛弃，他是一个残酷无情的贵族，为了夺回继承权，他回到了家族城堡。

一篇大气的文章，作为1970年杰斯-佛朗哥执导的《德古拉伯爵》的另一个版本；在虚构和现实之间的幽灵般的叙述。

佩妮（苏珊·斯塔丝伯格 Susan Strasberg 饰）的父母在她很小的时候就离婚了，一直以来，佩妮都跟着母亲生活。一场意外夺走了母亲的生命，于是，孤苦无依的佩妮接受了父亲的邀请，前去和父亲以及继母一起生活。然而到了父亲家，佩妮却发现在那里的只有继母一人，虽然这个女人表现得非常的和善与热情，但佩妮还是对她充满了戒备。
继母家里发生的各种诡异的事情，以及始终下落不明的父亲让佩妮的神经越来越紧张，渐渐地，她开始分不清，在这里经历的一切，究竟是不是自己的幻觉。很显然，继母也希望佩妮产生这让的自我怀疑。

爱伦坡、文森特·普莱斯、克里斯托弗李黄金组合，唯一的遗憾就是两个人对手戏太少了！伦敦发生了一起杀人事件，凶手竟然是已经死去的人？电影多线叙事节奏比较紧凑，结尾也有十分“普莱斯”的表演。电影缺点也有，除了几个穿帮镜头，主要还是VP跟Lee的对手戏太少！但喜欢两位演员的朋友必须得看这片，两个人单人戏份很足，何况能看一部是一部了。 （@拖延症字幕没有组）

凡赫辛博士着手调查好友强纳森命案的幕后真相，发现这显然是吸血鬼所为。他发现一本日记，里头把矛头指向德古拉伯爵。当他循线追踪时，发现德古拉在跟踪强纳森的未婚妻露西，并以自己的催眠魔力折磨她的精神状态。眼前只有凡赫辛有能力将她从德古拉的可怕魔力中拯救出来。

岛上有一个寓言，那就是一个神奇的王子拥有奇大无比的法力可以战胜魔王，波塞是否那神奇王子呢？无论如何纵队决定与贝克一起去黑暗世界拯救小孩，凭借他的勇敢和智慧最终能否救回孩子们，重返青苹果王田。