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  • SHINE A LIGHT GALA PREMIERE & AFTER PARTY SHINE A LIGHT GALA PREMIERE & AFTER PARTY

    Tuesday, May 13, 2008 7:26PM / Event
    40 pictures / 2511 views / 2 comments

  • John Rambo John Rambo

    Monday, May 5, 2008 11:08AM / Artwork
    62 pictures / 3278 views

    STALLONE) has retreated to northern Thailand, where he's running a longboat on the Salween River. On the nearby Thai-Burma (Mynamar) border, the world's longest-running civil war, the Burmese-Karen conflict, rages into its 60th year. But Rambo, who lives a solitary, simple life in the mountains and jungles
    fishing and catching poisonous snakes to sell, has long given up fighting, even as medics, mercenaries, rebels and peace workers pass by on their way to the wartorn region.

    That all changes when a group of human rights missionaries search out the "American river guide," John Rambo. When Sarah (JULIE BENZ) and Michael Bennett (PAUL SCHULZE) approach him, they explain that since last year's trek to the refugee camps, the Burmese military has laid landmines along the road, making it too dangerous for overland travel. They ask Rambo to guide them up the Salween and drop them off, so they can deliver medical supplies and food to the Karen tribe. After initially refusing to cross into Burma, Rambo takes them, dropping off Sarah, Michael and the aid workers ...... Less than two weeks later, pastor Arthur Marsh (KEN HOWARD) finds Rambo and tells him the aid workers did not return and the embassies have not helped locate them. He tells Rambo he's mortgaged his home and raised money from his congregation to hire mercenaries to get the missionaries, who are being held captive by the Burmese army. Although the United States military trained him to be a lethal super soldier in Vietnam, decades later Rambo's reluctance for violence and conflict are palpable, his scars faded, yet visible. However, the lone
    warrior knows what he must do...

    Sylvester Stallone writes, directs, produces and stars as JOHN RAMBO, currently filming on location in and around Chiang Mai, Thailand. Also starring are Julie Benz ("Dexter"), Matthew Marsden ("Resident Evil, Extinction," "Black Hawk Down"), Graham McTavish (HBO's "Rome"), Rey Gallegos ("American
    Wedding") , Jake La Botz ("Ghost World"), Tim Kang ("Third Watch") and Paul Schulze ("The Sopranos"). JOHN RAMBO is produced by Avi Lerner, Kevin King and John Thompson. Executive producers are Andreas Thiesmeyer, Avi Lerner, Josef Lautenschlager and Florian Lechner. The Director of Photography is Glen
    MacPherson ("16 Blocks"). Production Designer is Franco Carbone ("Rocky Balboa") and the Costume Designer is Lizz Wolf.

    Distributor: Golden Scene Company Limited

    Release date: 3 Apr 2008

    Category: III


    Duration: 91 mins

    Cinemas:
    1/ AMC Pacific Place
    2/ AMC Festival Walk
    3/ PALACE apm
    4/ BW Mongkok
    5/ BW Olympian City
    6/ BW Cyberport
    7/ BW Kowloon Bay
    8/ BW Tsuen Wan
    9/ BW Kwai Fong
    10/ BW Kingswood Ginza
    11/ BW Yuen Long
    12/ UA Whampoa
    13/ UA Citygate
    14/ UA Langham Place
    15/ UA MegaBox
    16/ UA Times Square
    17/ UA Cityplaza
    18/ UA tmtplaza
    19/ GH Mongkok
    20/ GH Hollywood
    21/ GH Tsing Yi
    22/ Golden Gateway
    23/ MCL JP Cinema
    24/ MCL Cinema Metro
    25/ MCL Kornhill
    26/ The Grand
    27/ Ma On Shan Cinema
    28/ CEL Paris London New York Milano Cinema

  • Once Once

    Monday, May 5, 2008 11:06AM / Artwork
    16 pictures / 1436 views

    About the Production

    ONCE is the inspirational tale of two kindred spirits who find each other on the bustling streets of Dublin. One is a street musician who lacks the confidence to perform his own songs. The other is a young mother trying to find her way in a strange new town. As their lives intertwine, they discover each other's talents and push one another to realize what each had only dreamt about before. ONCE is their inspiring story.

    Written and directed by John Carney (ON THE EDGE, BACHELORS WALK), ONCE is a nod to the classic musicals of the past, while it is also grounded in the bohemian world of struggling young Dubliners that he knew from his days as a young musician.

    In the early 1990’s, before devoting himself to a film career, Carney was a musician playing bass guitar with Dublin band The Frames. He understands and appreciates the power of a song, and how it can carry more weight than swathes of dialogue. In fact, conversations about this project started in 2005 at a Frames’ concert. “As a filmmaker with a background in music, I wanted to try and make something that relied less on your conventional 90 page script, something that was a little bit more organic, and something that included a lot of songs. That was the original starting-point,” he explains.

    As he developed the concept that would become ONCE, he sought “something that would express itself in ten pages of dialogue or script. A two-and-a-half-three-minute piece of music, I always feel, can be as powerful as a day’s conversation with, for example, a young lady. You can talk and talk and talk…”
    However, Carney did not want ONCE to be a classic song-and-dance musical where scenes ended with the key characters breaking into verse. As he recalls, the fleshing-out of the characters became a part of his early morning routine. “It originated with just me sitting outside, having my breakfast, coffee and cigarette every morning, playing songs and thinking for months and months, how could I make a little film that has all these songs in it,” he explains. “I came up with the idea of a story of a busker mainly because I wanted to keep the characters in a musical world. I didn’t want them just singing, I wanted them to be musicians and singers. So it was more natural that they would sometimes say to each other, ‘Look, I’ve just written you a song and I want you to hear it.’ It would be natural for them to sing. So I came up with the idea of a busker and a pianist, who then ended up being an immigrant.” The music in the film would not work if it wasn’t incorporated in to who they were.

    The story is set in Carney’s native Dublin, with Frames’ singer Glen Hansard as a songwriting guitarist, and Marketa Irglova – a musician from the Czech Republic who has collaborated with Hansard - as an immigrant pianist. Despite Carney’s background as a former member of The Frames, he hadn’t initially considered either Hansard or Irglova for the key roles, even though he had Hansard contributing songs from the beginning.

    “I had an Irish actor in mind for the leading role of the film, who can sing as well, but it didn’t work out for him. And it just gradually occurred to me as I was putting [Glen] on tape, asking him about his songs, giving him script pages. He’d go off and write something according to them, or I’d write some scenes according to the song he gave me. It occurred to me this guy’s the guy to do this role, really. Because he’ll sell these songs better than any actor would as they’re his songs.”

    Hansard also had some previous acting experience, having played the part of Outspan in Alan Parker’s film of the Roddy Doyle novel, THE COMMITMENTS. But while Carney acknowledges that aspect of Glen Hansard’s past, he insists that The Frames’ front man had even more to bring to the role.

    “Glen has a little bit of acting experience but, more importantly, he’s just a very naturally charismatic guy: he’s very laidback, he doesn’t try too hard,” he insists. “And the great thing about Glen is that he’s not an actor, so he doesn’t actually care, in a way. Sometimes, working with professional actors, you realize you’re just helping them put their show-reel together. A professional actor can rarely get behind a production in the way a non-actor will, which is understandable. I like working with non actors because they’ll give you their all. Because they’re unlikely to be making any more films in their lives, they really put themselves on the line for you.”

    For Marketa Irglova, then only 17, the concept of acting was alien, although she had been aware of the project and was enthused by it. “I heard about the idea of the film from Glen, because he was asked to write music for it,” she recalls. “I saw some of John’s films before and I thought that was very cool. The idea of the film sounded nice, and then one night I got a phone call from Glen, asking if I’d like to act in the film. I thought he was joking! But he was serious, saying that John was considering casting me in the film, that he wanted me to audition for it.

    “I thought it was really crazy as, obviously, I haven’t done any acting. Because I’m so young, I’m kind of up for anything,” she laughs. “I didn’t really take it so seriously. I thought: ‘Ah yeah, they tell you that you might be in a film and then they just don’t cast you, they take someone else.’ So I didn’t put too much hope in it, but the idea was very exciting. Part of the reason I was so excited was because Glen’s music would be in it, and I love Glen’s music. So I did the audition, I played some piano music for John, I read a bit of script, and that was it.”

    “They were all people that I knew and trusted,” he explains. “They got the whole idea of this not being your conventional film. So once my mates were making this film with me, then I was like: ‘Brilliant!’ This is back to how we were when we were 16, with a camcorder and friends and some songs. And I think people who’ve seen the film have responded very warmly to that, because they’ve seen that nobody’s trying to sell them anything here. That’s the vibe.”

    At that stage, Carney felt very comfortable with the people around and involved with the film. As well as having Glen and Marketa on board, the crew were people whom he’d befriended while also having utmost faith in their abilities.

    Quite often, getting a film produced can prove to be a daunting exercise. But in the case of ONCE, John Carney’s experience was quite the opposite. For one thing, he was on familiar territory. “I’ve known Samson Films for years,” he explains. “So when I had the idea of the film, I was thinking of various ways of producing it, and when I decided that I wasn’t going to go with a big actor in the lead role - or any actor - I went to Samson and said I have this idea for a film, and it’s kind of scripted and these songs are written, do you guys want to get on board with it? And they did.”

    “We had a great relationship — myself, the producer Martina Niland and executive producer David Collins. We just had a very relaxed relationship producing this film, because it was made for a small amount of money and everybody pulled in and joined together for this short period of time to make it work. Samson is a good company for that, because David Collins is at a place in his life where he does not need to prove himself as a producer; he just wants to make what he wants to make. And this appealed to him, and I think working with me again - because we had done a film a few years ago, and also he was one of the executive producers on BACHELORS WALK - meant we had a good relationship, and I wanted to work with producers that I didn’t have to explain everything to.”

    Martina agrees adding that “It was a real back-to-basics form of filmmaking and certainly the kind that has always attracted me the most and got me excited about ONCE from the early days of chatting to John about his ambitions for the project. We avoided bureaucracy and red tape as much as possible and everyone got to concentrate 100 percent on what’s on the screen. I think that shows when one watches this film.”

    The backdrop largely consists of Dublin city streets, shops and the less-than-salubrious interiors of the main characters’ homes; neither has their own place, with the Guy having moved back in with his father following his mother’s death, while the girl lives with her non-English-speaking mother, and her young child. Gradually, their two worlds cross over, through their shared love of music.

    With Glen Hansard and Marketa Irglova sharing most of the screen time, their characters form an artistic bond and, as a result, they fall in love. And although neither are actors, both Hansard and Irglova carried off their roles with an impressive naturalness and warmth. “They have a good relationship, so that really helped,” says Carney. “I love the benefit of having the actors know each other. It certainly taught me to get actors to hang out with each other before going into a certain style of film making. That was the good thing about BACHELORS WALK; by Series Three the guys were three mates. They just do it - there was none of the ‘finding it’ that you had to do in the first series.”

    Irglova impressed with her performances throughout the shoot and, as Hansard puts it, “she didn’t have any problems, slipped straight into it and really got it.”

    ONCE was shot very quickly over the course of a couple of weeks. “It was super-fast,” recalls Glen Hansard, who insists that he’d never swap his life as a musician for a career in front of cameras. “I’d experienced a little bit of this from THE COMMITMENTS, as in getting up early and working throughout the day, but I don’t remember being as exhausted at the end of every day,” he recalls.

    “We were up at six every morning, we were working all day, and it drains the life out of you. Being in a band is so much easier. You get up at midday, you head to the airport, you get on a plane, you get to another country, you sound check around five or six, doors are at eight, you’ve got your gig at nine. It’s very chilled-out. It’s all evening work. With this, we were just knackered, going back home and literally being a shell of yourself. You were just completely gone until the next morning. It was very intense.”

    It was a similar experience for Marketa Irglova, who admits that she has “mixed feelings” about the shoot “because it was really exhausting. If you woke up and had some problems in your personal life, you had to be up for the scenes you were shooting and you had to be convincing, because being an actor is being a good liar. You have to convince everybody that you’re feeling everything that you’re supposed to be feeling, which is really hard, and really demanding of your emotions. We had really tough days; it was nothing like when you play music.”

    Ultimately, though, she found the experience very fulfilling. “I really enjoyed being a part of a team. It was very compact. John, Glen and I were at the center, but there were other people around it that took care of their own parts and I really enjoyed working with everybody, meeting new people, and watching the film afterwards, and this feeling of achievement of doing good art; looking at it afterwards and feeling we did something good here.”

    The songs are, obviously, an essential element of ONCE. The fact that Glen Hansard and Marketa Irglova ultimately played the parts of the Guy and the Girl could only add layers of emotion, not just to their roles, but especially to the songs they had recorded together.

    John Carney describes Hansard as “a good lyricist because his songs are never literal. His songs are very much about pictures and images and ideas, and moments in time. They’re quite vague, in a very good way that good songs are. And they’re also very open to interpretation, they’re like a good poem, which is meaningless one day and then suddenly has real meaning when you’ve been there, or when you’ve had that experience. He paints little pictures with the songs. I’d write a scene, or come up with a character note based on a song.

    “Then, occasionally, it would be the opposite situation where I would ask Glen to write, not a tailor-made song, but I would give him some ideas about a scene and he would come back to me with a song. A lot of the material that Glen brought in, he had already written. They’re not tailor-made songs for the film. Nor is the film tailor-made around a bunch of songs; but they meet somewhere in the middle, and I like that idea.”
    What also appealed to Carney about this project was the fact that it allowed himself and Hansard to combine their talents and interest in each other’s craft. “I left The Frames to make films,” he recalls. “But Glen was always very interested in films, we always had a lot to talk about, about movies. He was doing THE COMMITMENTS just as the band started. But apart from that, Glen was always interested in Bergman films and French films. He’s certainly a film fan, and an independent or arthouse film fan as well.”
    And despite taking different paths, the two remained friends and would discuss the possibilities of working together. “Occasionally our paths would cross and we always had a quick chat about doing something collaboratively, whether it would be that I’d make a rock video for them, or that he’ll write a song,” Carney recalls. “And I used his songs in a couple of other films that I’d made, but it was never quite satisfying enough, so this was a great opportunity to really work together.

    “Glen loves films, but he’s not a filmmaker. He’s a very visual guy, he does a lot of artwork for their albums. And I’d be the same, in reverse. I’d spend half my day at the computer screen writing a script, then I’d go off and play the piano, for no reason other than it entertains me. I don’t do it professionally, but it means a lot to me. I love music. It was never a career for me, really, apart from when I was young and in the band. It’s an entertainment thing. For Glen, film is an entertainment. So it was interesting, the two things coming together. That was a good experience we both, I think, responded well to that.”

    Glen Hansard sees ONCE as a source of much pride as well as an exceptional experience. “It’s definitely a lovely thing for me to look back and say that I was involved. It basically came up trumps as far as I’m concerned. I can look back and be proud of it, and not only for the fact that we managed to act our way through it, but also that the songs are there and they’re kind of immortalized in this film. Which is great.”

    Carney reflects on ONCE with a lot of personal satisfaction. “Experience is good; it’s easy to get people to have confidence in you when you have a bit of experience,” he says, looking back on the production. “Also I was at a particular stage in my career. I was a filmmaker for a while and then I got sucked into TV. So when I came back to filmmaking I’d lost a hold in the ladder slightly, and I was finding it hard to get a film made. Making ONCE wasn’t a career move, so much, it was just a decision to go back to basics, and prove myself again.”

    Distributor: Golden Scene Company Limited

    Release date: 3 Apr 2008

    Category: TBC


    Duration: TBC

    Cinemas:

    PALACE IFC / BW Cinematheque / The Grand

  • Shine a Light Shine a Light

    Monday, May 5, 2008 11:04AM / Artwork
    29 pictures / 2161 views

    電光滾石

    故事簡介

    2007年九月,奧斯卡最佳導演馬田史高西斯(Martin Scorsese),與傳奇搖滾樂隊「滾石樂隊」(Rolling Stones),合力炮製了年度最矚目的音樂紀錄片《電光滾石》。

    《電光滾石》紀錄了滾石樂隊2006年秋季於紐約市著名Beacon Theater舉行的演唱會,更揭示了樂隊鮮為人知的一面。而紀錄片更由一班得獎攝影師負責拍攝,陣容鼎盛;把滾石澎湃動力盡現觀眾眼前。


    發行: Golden Scene Company Limited

    上映日期: 15 May 2008

    級別: IIA


    Duration:122mins

    戲院
    :
    Palace IFC / Broadway Cinematheque / The Grand

  • This Darling Life This Darling Life

    Monday, May 5, 2008 11:02AM / Artwork
    30 pictures / 2094 views

    THIS DARLING LIFE

    Synopsis

    THIS DARLING LIFE is a journey in search of dogs’ best friends that evolves into a discovery of the essences of life.

    It is a feature documentary about ordinary heroes of different colors, from different walks of life in Hong Kong, all with a passionate tie with dogs, leading unusual and fascinating lives. It’s explosive, difficult, reflective, and hilarious. It’s a darling life.

    Distributor: Golden Scene Company Limited


    Release date: 8 May 2008

    Category: I


    Duration: 82mins

    Cinemas:

    1/ UA Times Square
    2/ UA Langham Place
    3/ UA Cityplaza
    4/ UA Whampoa
    5/ UA Megabox
    6/ UA Tuen Mun
    7/ UA Shatin
    8/ UA Citygate

  • We Own The Night We Own The Night

    Monday, May 5, 2008 10:59AM / Standard Album
    20 pictures / 1586 views

    Synopsis

    Bobby Green (Joaquin Phoenix) has turned his back on the family business. The popular manager of El Caribe, the legendary Russian-owned nightclub in Brooklyn’s Brighton Beach, he has changed his last name and concealed his connection to a long line of distinguished New York cops. For Bobby, every night is a party as he greets friends and customers or dances with his beautiful Puerto Rican girlfriend, Amada (Eva Mendes), in a haze of cigarette smoke and disco music.

    But it’s 1988, and New York City’s drug trade is escalating. Bobby tries to keep a friendly distance from the Russian gangster who is operating out of his nightclub – a ganster that is being targeted by his brother, Joseph, an up-and-coming NYPD officer, and his father, Burt (Robert Duvall), the legendary deputy chief of police.

    WE OWN THE NIGHT, an emotional crime drama about a man who has chosen to hide his past only to discover that he has to confront an inevitable future, takes its title from the motto of the 1980s-era NYPD street crimes unit. Written and directed by James Gray (The Yards, Little Odessa), the film was produced by Nick Wechsler, Marc Butan, Mark Wahlberg and Joaquin Phoenix, and executive produced by Todd Wagner, Mark Cuban and Anthony Katagas.

    “This is a film that is clearly rooted in a specific and familiar genre -- the police movie,” explains Gray. “But normally the police movie focuses on procedure -- finding the bad guy. I wanted to do something much more focused on character and emotion. The genre itself is essentially a point of departure to tell a story about a man caught by his destiny, his inevitable fate, and the complex and internally conflicted emotions that love, loss, and betrayal yield.”

    “A man’s ability to change his own fate is much more limited than we would like to believe,” says Gray, the writer-director. “Other factors play a big role in life -- the flow of history, culture, external events, instinct and love. This is what I wanted explore.”

    Also starring are Danny Hoch, Moni Moshonov, Tony Musante, Antoni Corone, and Alex Veadov. Collaborating with Gray behind the scenes were cinematographer Joaquin Baca-Asav, editor John Axelrad, production designer Ford Wheeler and costume designer Michael Clancy.

    Distributor: Golden Scene Company Limited


    Release date: 17 Apr 2008

    Category: IIB


    Duration: 118mins

    Cinemas:

    1/ PALACE IFC
    2/ BW Cinematheque
    3/ AMC Pacific Place
    4/ AMC Festival Walk
    5/ The Grand

  • City Without Baseball City Without Baseball

    Monday, May 5, 2008 10:58AM / Artwork
    16 pictures / 1605 views

    City Without Baseball

    Synopsis

    The actual members of the Hong Kong Baseball Team all prove themselves to be natural actors by playing themselves in this fictional youth drama set in 2004. In a city where baseball culture is non-existent, these baseball players are a minority by choice. The experience teaches them to be free-thinkers in dealing with love, friendship and their own sexuality. It also enables them to find the will to live in the face of death and the strength to conquer losing in a spectatorless sport.

    Synopsis


    This film is based on the stories provide by the Hong Kong Baseball Team players, and performed by themselves.

    Hong Kong is a glamourous city with everything but baseball, almost. A brand new diamond and a charismatic new coach bring hope to the underrated delegation. Yet their passionate lives are no less intriguing.

    The coach from Taipei meets a beautiful beachfront girl. The masculine pitcher attracts more fans than he like while he desperately attempts to save a suicidal girl. The artistic rookie who is also into punk music and fashion is so attached to the pitcher that it aroused suspicion to his sexuality, from his teammates as well as himself.

    In the fateful Asian Cup, they defeat Indonesia and Thailand, the two strongest teams in the group they have never conquered. Amid the ecstasy of achieving the greatest victory ever, they lost to Sri Lanka, the weakest link, in the final match and were sent straight to the hell from heaven.

    Distributor: Golden Scene Company Limited

    Release date: 2008

    Category: IIB


    Duration: 100 mins

    Cinemas:
    TBC

  • Step Up 2 The Streets Step Up 2 The Streets

    Monday, May 5, 2008 10:55AM / Artwork
    64 pictures / 3654 views

    It’s not where you’re from. It’s where you’re at.

    The follow-up to the smash box-office hit STEP UP takes the story of urban street-dancing to the next stage with an electrifying new story of bodies, hearts and dreams in motion. Rebellious newcomer Andie (BRIANA EVIGAN) is an outcast trying to fit in at the elite Maryland School of the Arts while still holding on to her old dream of dancing with an underground Baltimore street crew. The school’s hottest talent Chase (ROBERT HOFFMAN) is a rising star who’s looking to break out of his mold – by forming a crew to compete in Baltimore’s biggest, most raw street dancing battle, “The Streets.” Now, as Chase joins forces with Andie, the two simultaneously clash and sizzle, sending Andie’s two worlds into collision. With the pressure heating up on the dance floor and in her life, she must learn to build a bridge between love and loyalty, between freedom and opportunity, between who she is and who she believes she can be.

    Driven by hypnotic dance, music and break-out performances like its predecessor; STEP UP 2 THE STREETS features the directorial debut of up-and-comer Jon M. Chu. With an exciting cast of youthful newcomers, many of whose personal stories of rough-hewn talent and hard-won achievement mirror their characters in the film, the film also reunites much of the production team behind the original film, including STEP UP’s cutting-edge hip-hop choreographer Jamal Sims, who is joined this time by leading choreographers Nadine “Hi Hat” Ruffin (dubbed “hip-hop’s high diva of dance”) and Dave Scott (“Stomp the Yard”). Patrick Wachsberger & Erik Feig of Summit Entertainment produce with Adam Shankman and Jennifer Gibgot of Offspring Entertainment. The executive producers are Bob Hayward, David Nicksay, Anne Fletcher, and Meredith Milton. The screenplay is written by Toni Ann Johnson and Karen Barna, based on characters created by Duane Adler.

    The film stars a multi-talented cast who performed all their own dancing including Briana Evigan, Robert Hoffman (“She’s The Man,” “You Got Served”), and Will Kemp (“Van Helsing”). Also starring is singer/model/actress Cassie Ventura, Sonja Sohn, Adam G. Sevani, Telisha Shaw, Danielle Polanco and Black Thomas, along with a supporting cast of gifted street dancers discovered in extensive auditions, with many making their feature film debuts.

    Accompanied by a soundtrack to be released on Atlantic Records, STEP UP 2 THE STREETS features wall-to-wall rap, hip-hop and R&B, including the smash hit “Low” by Flo Rida featuring T-Pain, plus new singles and videos from T-Pain, Missy Elliott, Enrique Iglesias, Trey Songz featuring Plies, Plies featuring Akon, Cassie, Cherish featuring Yung Joc and more.

    Distributor: Golden Scene Company Limited

    Release date: 8 May 2008

    Category: IIA


    Duration: 98mins

    Cinemas:

    1/ PALACE IFC
    2/ AMC Pacific Place
    3/ AMC Festival Walk
    4/ Mongkok Broadway
    5/ PALACE apm
    6/ Olympian City Broadway
    7/ Cyberport Broadway
    8/ Kowloon Bay Broadway
    9/ Tsuen Wan Broadway
    10/ Kwai Fong Broadway
    11/ Yuen Long Broadway
    12/ Kingswood Ginza Broadway
    13/ UA Langham Place
    14/ UA Times Square
    15/ UA Shatin
    16/ UA Cityplaza
    17/ UA MegaBox
    18/ UA Whampao
    19/ UA Tuen Mun
    20/ UA Citygate
    21/ GH Mongkok
    22/ GH Hollywood
    23/ GH Tsing Yi
    24/ Golden Gateway
    25/ The Grand
    26/ MCL Cinema Metro
    27/ MCL Kornhill

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