阿迪克尔（汤龙饰）和巴特尔（郭嵩涛饰）虽为血脉相连的亲兄弟，却因为幼年时聚少离多，使得兄弟之间的情谊十分淡漠，甚至彼此之间只有冷眼和沉默。到了上学的年龄，父母决定将兄弟两人送进同一所学校，并且一同寄养在爷爷家，可即便生活在同一屋檐下，两人之间尴尬的气氛仍然没有缓解。一晃眼，暑假来临，与此同时，年迈的爷爷不幸去世，只留下兄弟两独守空房，左等右等也等不来父亲的两人决定，依靠他们自己的力量，穿越茫茫五百公里的大草原，找到回家的路。就这样，两个孩子踏上了旅途，一路上，有无穷无尽的困境和麻烦在等待着他们。
积（陈奕迅 饰）和清（谷祖琳 饰）搬进了一间新房，开始了甜蜜的二人世界。他们感情很好，清是中学老师，而积则撰写色情光盘的简介。新屋入住的第一个深夜，积就在外面遇上了车祸。他昏迷过去，之后的一切，都因为这场车祸彻底的改变了。 行动还不大灵便的积出院后，发现了一连串的怪事：他看到清深夜在大厅盯着电视，得知清的母亲并未过世而清竟一直隐瞒，发现屋中竟然装上了监视器。甚至
在上一季的结尾，莱纳德（约翰尼·盖尔克奇 Johnny Galecki 饰）和佩妮（凯莉·库柯 Kaley Cuoco 饰）宣布订婚，他们和谢尔顿（吉姆·帕森斯 Jim Parsons 饰）商量让他搬出公寓，女友艾米建议谢尔顿与她同居，这把谢尔顿吓坏了。与此同时，他们最爱的漫画店惨遭火灾。谢尔顿一时间难以接受生活中的种种变故，负气出走。一个多月过去了，谢尔顿会在这场跨越美国大陆的旅程中遭遇什么？
在《男人女人和孩子》中，有经常浏览色情网站的父亲，有痴迷于GuildWars(激战2）的儿子，还有误入歧途的母亲。小说探讨的是在互联网视讯如此发达的当下，美国家庭所面临的性压力，以及美国社会“不牢靠的情感文化”。
印度某市，所有人的手机突然被来自天空的神秘力量席卷吸走，手机销售大亨、电信运营老板、国家电信部高官等与手机相关的许多人相继离奇死去；城市上空，巨型变异鸟怪突然出现，大开杀戒，向所有手机用户宣战，民众陷入恐慌…… 危机时刻，科学家瓦西博士在美女助理妮娜的帮助下，一路追踪事件真相，但后果已无法挽回，能够拯救人类的唯一方法只有——重启机器人“七弟”，他将如何变身新一代超级英雄，与这股亦正亦邪的势力开启昏天黑地、脑洞大开的鏖战？......
《青春如期2青春梦想》讲述计算机专业出身的李小广从小有着一颗想做电影的心，为圆自己的导演梦，他决定参加新一届的大学生电影节。在一次意外街拍中，他对校花林美琪产生了好感，无奈名花有主。从此李小广和林美琪的男友，富二代张横结下梁子。“好哥们儿”刘羽暗恋李小广多年，为帮他实现梦想，刘羽拉上好友陆文豪和田默出手相助，四人组成了追梦组合，过关斩将，屡次克服恶少张横的刁难，靠智慧和勇气度过难关。最终，李小广在资深导演“董哥”的指导下顺利完成了参赛影片，逆袭高富帅。梦想得以实现，可是感情又该何去何从？李小广陷入深深的两难中……
内详
电影《哈斯巴根的天骄》主要讲述了研究生李瞳从北京到内蒙古牧区小学支教，牧区学校教育也在与时俱进，力求让牧民的孩子们插上高科技的翅膀，飞出草原，飞向全世界。李瞳觉得：草原优秀传统文化不能丢掉，现代的孩子仍然可以在马背上锻炼自己的体魄的故事。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
They never stop loving each other, even if they from time to time can't stand the sight. Liv and Terje is observed by daughter Diana fr om baby to her leaving home. The world's worst parents, not even trying to do their best. Komedien Dianas bryllup er en h?ylytt hyllest til de som hiver seg hodel?st inn i kj?rligheten. Om to som aldri slutter ? elske hverandre, selv om de i pe...
男主角邵峰的女友，因为识破了公司高层贪污的事情，却被公司CEO与属下恫吓，失足跌落高楼。女友的死，让邵峰愤怒，决定在第二年万圣夜予以报复。却意外卷入了无辜者沈琳。沈琳用自己的善良让邵峰明白，所谓的报复过于极端疯狂。邵峰在沈琳善良的感召下，放弃复仇，沈琳也摆脱男友去世的阴影，重新坚强起来。
尼古拉·科斯特-瓦尔道将出演黑色喜剧《小奸小恶》(Small Crimes，暂译)，该片由伊万·凯玆执导，梅肯·布莱尔撰写剧本。影片根据大卫·柴尔茨曼同名小说改编，讲述一名因杀人未遂入狱6年的警员，刑满释放回家寻求救赎的故事。本片将于戛纳电影节预售，今夏开拍，预计2017年上映。