A nurse is hired to take care of a mean, cantankerous woman. It turns out that the nurse and her boyfriend are after the woman's fortune. When the woman turns up dead in a bathtub full of blood the couple begin to search for the money, but they soon begin to suspect that the woman isn't really dead - or her ghost has come back to avenge her.
羅馬(mǎ(📿) )、張揚(yáng )合導的《阿牛(niú(📉) )入城記(✡)(jì )》以阿(🕘)牛（野(🔨)(yě )峰）(🌶)這(zhè )個(⭐)大鄉里(🌓)來到(dào )香港，目睹香港低下(xià(🍹) )層社會(🌰)(huì )的光怪陸離(lí(❤) )，有悲有(🌓)(yǒu )喜，有(🔐)血有淚(🎻)。阿牛(niú(📨) )生性戇(🌀)直常常(🏖)被人利(🔙)(lì )用，周(zhōu )大叔（王沙）帶他(💷)做(zuò )賭檔「睇水」，他以(🦒)(yǐ )為是(🛃)看著一(🔘)桶(tǒng )水(🛃)，大(dà )出(💅)洋相。阿(🌘)牛(niú )做(🎸)過很(hěn )多工作，不(bú )時被壞份(👣)(fèn )子利用如幫人「捉黃(⚾)(huáng )雞」(💯)勒(lè )索(🍕)、到城(😏)寨做(zuò(✴) )「阿牛(🕖)(niú )艷舞(🤳)」等，但(dàn )阿牛的(de )天真純樸仍得(dé )到(📫)阿花(huā )的喜愛，反映(yìng )傳(✳)統社(shè(🙋) )會的善(💧)良信(xì(🤰)n )念：天(⛲)無(wú )絕(📼)人之路(➕)。後來，阿(ā )牛到碼頭做苦力，工(🔢)(gōng )人罷工(gōng )，他繼績工作(😧)(zuò )，竟然(🔲)(rán )被打(⛹)，阿牛自(🤞)(zì )衛釀(🥥)成(chéng )大(✡)騷動，被(🏞)拉(lā )入獄。結局無疑令人(rén )悲(💹)哀，卻反映編導的聰明之(🉐)(zhī )處，留(㊙)下尾巴(👍)，讓關(guā(🚀)n )心阿牛(🆘)(niú )命運(🏆)的觀眾(📥)期(qī )待下集(jí )《阿牛出獄記(jì )》登場(chǎ(🚴)ng )。
西安电影制(zhì )片厂
神(shé(😧)n )猴哈奴(🌹)曼和奥(🚝)(ào )特曼(🧞)六(liù )兄(🏅)弟联手(📦)打(dǎ )怪(🤟)兽，故(gù )事发生在泰国。
While traveling in England, shy American Jenny Frifth is swept off her feet by charming Paul Tanner. Within days of meeting, the couple are married and living in Paul's isolated seaside home. However, Jenny begins to suspect Paul is keeping secrets from her; will she uncover his ruthless plans before it's too late?
When two troublemaking female prisoners (one a revolutionary, the other a former harem-girl) can't seem to get along, they are chained together and extradited for safekeeping. The women, still chained together, stumble, stab, and cat-fight their way across the wilderness, igniting a bloody shootout between gangsters and a group of revolutionaries.BY:
Hot Wins (made in the majority language, Hindi) boldly confronts a problem familiar to every Indian but hitherto 'taboo' in Indian cinema, theatre and literature: the tension between the Hindu majority and the Muslim minority in India, one of the most delicate and sensitive issues in Indian politics. Indian art had conventionally avoided the issue by showing HIndus and Mislims in their own repective communities, with hardly any penetration of each other's worlds. The truth is, of course, less tidy, and Sathyu tries to broach it by looking back to 1947, the year that india was granted independence, when the sub-continent was divided into India and Pakistan. The partition is not only the background and context for the film's plot, but also its main dynamic, since the storyline chronicles the break-up of a large Muslim family in North India as more and more of its members leave for a brighter future in Pakistan.