本片改編自著名武俠小說家黃鷹的同名小說，由華山於1983年執導。故事講述龍飛(白彪 飾)精心雕琢的水晶美人像忽然失蹤後，多名黑道高手離奇被殺，江湖傳言乃水晶人變成精靈殺人之所為。龍飛經過連番追蹤後，終發現水晶人(劉玉璞 飾)乃日后(陳思佳 飾)訓練之殺手。水晶人揭發江湖廝殺之真正幕後人，實為偽裝王爺的天帝(王戎 飾)……
该剧讲述了兔仙白在在，为报杀师之仇，追杀同门师妹白羽羽，屡次从白羽羽手下救了二皇子刘长歌。刘长歌对她一见倾心，聘请她当自己的护卫。二皇子刘长歌和大皇子刘长河、三皇子刘长杰，陷入夺嫡之争。国师沈逸设计让三个皇子自相残杀未果，就控制了刘长河和刘长杰。白在在助力刘长歌，终将沈逸制服，还天下太平，自己也成为一代王妃。
暂无简介
20世纪80年代，电子软体天才凯文·弗林（杰夫·布里吉斯 Jeff Bridges 饰）创建了英康公司，将人类带入一个全新的时代。可是在辉煌的时代开创不久后，凯文神秘失踪。在此之后，凯文年幼的儿子萨姆（加内特·赫德兰 Garrett Hedlund 饰）继承了父亲的位置，实际工作则由其他工作人员主持。萨姆天资聪颖，充满冒险精神，经常给英康的高层们惹来麻烦。这一天，他得知一间荒废已久的工作室内竟传来父亲的讯息。萨姆前去探查，结果竟进入一个全数字化的虚拟世界。这个世界的掌控者克鲁（杰夫·布里吉斯 Jeff Bridges 饰）与父亲有着同样的容貌，却野心勃勃，邪恶无比。萨姆被迫卷入一场充满阴谋的电子争霸战中…… 本片荣获2010年奥斯汀影评人协会最佳原创配乐奖。
我们热爱的科学怪人们又回来了！2012年9月27日，万众瞩目的《生活大爆炸 第六季》终于在美国电视台开播。在这一季里，四个天才依旧过着他们轻松又爆笑的宅生活，同时，更多的难题和困境需要他们来面对和解决。 在上一季的结尾，霍华德（西蒙·赫尔伯格 Simon Helberg 饰）和伯纳黛特（梅丽莎·劳奇 Melissa Rauch 饰）终于完成了他们
地球已经很久没有遭受怪兽的侵害了，似乎恢复了和平。人类将目光进一步转向宇宙，因此对抗怪兽灾难的队伍规模也在逐步缩小。而就在这时，神秘宇宙漂浮体“斯菲亚”突然向地球发动攻击。地球与宇宙的联系被斩断，变成了“孤独的行星”。斯菲亚的恶魔之手也逼近了主角明日见奏大的日常生活，它不停地制造着破坏，最终从漂浮体变成了巨大的形态……奏大不顾危险、勇敢地挑战敌人，终于变身成德凯奥特曼。“就是现在，上吧！”奏大手握德凯奥特曼的“光”，为了保护昔日的和平奋勇迎战。为了对抗斯菲亚，新精英队“GUTS-SELECT”重新建立。奏大作为新“精英胜利队”的新队员，与年轻的伙伴们一起对抗巨大的敌人！
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.
1973年，七月十日的布拉格，剛滿22歲的歐嘉開著一輛失速的卡車衝上人行道，造成八人死亡。歐嘉對警察說，她是故意的！
83 年，15 岁的艾玛努艾拉·奥兰迪在罗马失踪。此后数十年，这个谜团一直困扰着梵蒂冈。
南方炎热的夏日夜晚，年轻的王学明（彭于晏 饰）遭遇了一起意外。梁妈（张艾嘉 饰）的老公忽然失踪，她寻求陈警官（王砚辉 饰）的帮助，却不知自己已成为别人的下一个“目标”。陈警官负责老梁失踪案，他发现案情的发展远超自己掌控。这群不知命运已被悄然更改的人，都在试图窥视关于那个夜晚的真相，但这个夏夜的记忆如错乱的拼图，愈加扑朔迷离……
Putti是一名爱冒险的考古学与历史学家，在他女朋友Melanee出版的Tann Magazine当作家，有一天精神病院中的Dr.Miang给了他一个鸟的雕像，Putti知道这是能进入Paksa Jamjong(一个古老的寺庙)的钥匙，并能得到古老且有魔力的Sroy Saeng Jan(月光项鍊)。 在Putti得到鸟雕像之后，他开始看到回到过去的幻觉。他在回家的途中发生事故，考古学家Duentemduang (Tem)以及她的侄子MooUan带他到医院。回家之后Tem发现MooUan将鸟雕像带了回来。Putti来找Tem要回鸟雕像，而Tem认为 Putii是个盗墓者而讨厌他，并用各种方法想撕下他的假面具。 Melanee是Putti的女朋友，她欺骗并利用Putti去Paksa Jamjong找Sroy Saeng Jan，Tem一直跟踪Putti并...