A vicious alligator named Ramon, who was flushed into the city sewer as a baby, survives to become a 32-foot-long menace who devours animals and people alike. Ramon's so huge because of the steady diet of dead pets - treated with growth hormones - that he's fed on for 12 years. Now the tremendous brute is angry and looking for revenge. Only detective David Madison knows of Ramon's existence, and it is his task to prove to the rest of the city that a tropical beast lives in their midst. Veteran screenwriter Sayles' script finds the perfect blend of comedy and horror, making this an entertaining romp through the sewers of Chicago.

金正鴻（徐少強）四出踢館, 所向無敵, 惟其身份與目的並未為人知悉.金來到小鎮.飯店老闆娘韋青鳳與情夫鮑森昌重金收買遊天（姜大衛）往殺金正鴻. 游欲殺金不果, 往韋家取酬勞, 並為鮑追殺滅口, 遊不忿被利用,遂將真相告金, 二人化敵為友, 合力對付鮑, 二人藉韋留下的線索, 至威遠武館尋得飽, 展開一場龍爭虎鬥, 終合力將鮑除去.

In this futuristic sci-fi film, based on the legends of the Golem, insane scientists have invented technology that give them total control over the half-human, half-android population of Earth. Trouble ensues when one of the creatures begins showing independent will. He must be destroyed lest he influence the rest. They pursue him, but somehow he continues to elude the evil doctors. ~ Sandra Brennan, All Movie Guide

抢孤是一种庙会活动。通常在每年的夏季举行。台湾部分民间在中元节普渡后，会将祭祀的供品提供民众抢夺，称为「抢孤」。一种说法是为了与孤魂野鬼抢夺祭品，另一种说法是为了吓退流连忘返的鬼魂。案例“抢孤”在我国的一些重要的传统节日中也得到广泛的运用。如中国的“盂兰盆节”又称“中元节　　拳师苏望达受日本人佐佐木指示，开设抢孤大会，受到阿善师等爱国人士强烈抵制，阿不幸死在苏手中，其徒弟连与何及西罗七剑等人最终没让佐与苏等人的阴谋得逞，捍卫了自己的民族尊严，打败了苏，佐也战败自尽。　　“抢孤”是台湾的一项祭祀亡灵的活动！后来成为权势者铲除异己的工具……本片由 张人杰执导，龙天翔、云中岳、董力主演！

本片由孙仲导演，倪匡编剧，改编自秦红原著小说。故事描述，青年侠士辛酸（汪禹）得悉王爷拟委託四大杀手押送神秘箱子往西安，且将付出十万两银子作酬金，辛遂杀四人，持四人的头颅往见王爷，求接办保鏢事，盖辛欲得该笔鉅额酬金作賑灾之用，王爷允之。辛途遇妙手怪丐杨风（罗烈）、无形剑客古非天（陈观泰）及美艳女侠水仙花（林秀君）等高手截劫，险恶重重，却原来这当中牵涉通敌叛国的大阴谋……

电影分为两个短片。　　《碟仙》：约翰因其卑微的身世而受尽了欺辱，苦不堪言，无奈之下只能向鬼神求助。在碟仙的指点下，约翰在赌局中赢得了巨额的奖金，一跃成为了挥金如土的大富豪。长久以来的积怨以金钱为导火索爆发了，发财后的约翰个性变得嗜赌成性唯利是图，最终输光了积蓄。　　《阴灵》：阿成（詹森 饰）和雅莉（井莉 饰）是一对结婚不久的年轻夫妇，仍然沉浸在新婚的甜蜜氛围之中。两人置下了房产，搬进了新家，打算在这个温馨的家里开始美好的人生。然而，某些科学无法解释的诡异事件拉开了噩梦的序幕，雅莉深受折磨，而阿成却以为妻子精神失常产生了幻觉。

陈云轩（李维新 饰）和女儿陈秀娟（刘冬 饰）来到台湾，两人没有一天不想念生活在大陆的亲人们。一日，陈秀娟随生物考察船出海，竟然遇到了海盗，宁死不屈的陈秀娟选择了跳海保身，之后得到了名叫方杰（徐敏 饰）的男子的救助，才免于一死。两个人漂流到了一座小岛上，在那里安顿了下来，等待救援。　　某日，秀娟看到头顶有飞机飞过，而飞机上硕大的“八一”标识让秀娟放弃了求救，因为她舍不得孤身一人留在台湾的父亲。在岛上滞留期间，陈秀娟和方杰之间渐渐产生了真挚的感情，方杰解开了陈秀娟对于大陆生活的诸多误会。最终，陈秀娟跟随方杰返回了大陆，并且见到了自己阔别数十年的母亲和弟弟。

在一暴风雨晚上，服装业家周宏业驾车回家途中，发现一个不知名的妇人倒卧路旁，将她救回家中，才知是一名孕妇，且即将分娩，周妻唐静如手足无措，宏业外出觅医途中竟惨遭车祸，孕妇产下女婴婷婷後，留书离去，希望静如收养女婴……

郊外的狗牙山上，高佬、病甩毛（郑则仕 饰）和矮脚虎等五个游手好闲的流氓终日偷鸡摸狗，好不逍遥得意。近来天气晴好，阿华与阿玲（庄静而 饰）兄妹唤上三名青春朋友，一同去狗牙山露营，在露营地，阿玲被矮脚虎一伙撞见，后者遂其歹意，但碍于阿华在场不能得逞。但不该发生的事情还是发生了，阿玲在河边遭矮脚虎等人强暴，阿华操起斧头追凶，却惨遭流氓们算计，惨死山中。虽有当地村长包庇，但这伙流氓仍被警方拘捕，可阿玲受辱后精神错乱，已没有指认罪犯的能力，于是恶徒得以逍遥法外，出面作证的村民也遭到毒打。此时家中的玲父为一双子女的遭遇痛彻心扉，决定要靠自己的双手惩治凶手！

A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.　　Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.