民国初年，清宝村马家大夫人正在为其因病去世的大孙子马不明举办阴婚，突然纸新娘离奇复活，现场一片混乱。阴阳半仙认为是其二孙子马不快因血跟纸新娘结了孽缘，从而被纸新娘缠上，必须送他离开马宅。十一年后，马不快携恋人李招娣回乡谈论婚嫁之事，不料在他回到马宅后诡异命案接连发生，不信任何鬼神怪论的他认为此事另有蹊跷，决定亲自解开谜团，并且在这过程中逐渐了解到一段尘封已久的恩怨。
在这个世界上，有许多人从事杀手的行业。有的人杀人需要几天时间，有的只需花几分钟，而有的却用好几年。很不幸，倒霉的大胖子杰克（Paul Clemens 饰）就是最后这一种杀手的狩猎目标。如往常一样，杰克行走在回家的路上，突然一个全身穿着黑色紧身衣、面容惨败狰狞的怪异男子（Brian Rohan 饰）冲到他的身后，用一把汤匙猛敲杰克的身体。杰克起初并不以为意，只将其当作某个精神失常者或者出奇恶搞者。没想到的是，在接下来的日子里黑衣男无时无刻不突现杰克身边用汤匙进行攻击。可怕的是周围却没人能看见黑衣男子。每天两万次的汤匙敲击，可怜的杰克几近崩溃……
本片讲述了主人公梁嘉喜放弃城里的生意，回村当书记，带领沂河湾村村民从积贫积弱的困境中努力奋斗，通过土地流转的方式，与商会共建商城，发展新农村产业，带领村民共同致富，也解决了母亲几十年怨念的故事。
海洋生物学家耶利米·沙利文发明了一种能保护潜水员不受小型鲨鱼攻击的盔甲。40年后，他为了制造全新的盔甲，与饥饿的锤头鲨和致命的虎鲨正面抗衡，测试它们的咬合力、身体力量和咀嚼先进材料的能力。他将亲自穿上新盔甲，让自己被一只14英尺长的虎鲨用极具破坏性的牙齿咬住，来测试它的性能。
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.
外骨骼装甲作战小队，与神秘科技组织进行多方位的交锋，通过解密，发现人类梦境，打开新世界。
某座平凡小镇，彪悍恐武的警探约翰·伊利亚特（维尼·琼斯 Vinnie Jones 饰）和美丽善良的女儿海瑟（Emily Tennant 饰）生活在一起。某天一名酷酷的男孩来到海瑟的学校，他叫罗比·穆勒（杰克·克罗克 Jake Croker 饰），五年前曾和海瑟有过一面之缘，并且卷入了一场神秘恐怖的死亡时间。罗比似乎对海瑟颇有好感，但却因此惹恼追求这个女孩的格雷戈（Aren Buchholz 饰）。在一次争执中，五年前的恐怖一幕再度上演，格雷戈在没有任何人碰触他的情况下突然倒地，遭受重创。不久后格雷戈伤愈出院，却死性不改，对罗比欲行不轨，最终在野外死于一场离奇的事故。约翰受命调查此案，种种疑点全部指向了神秘而阴森的罗比…
一群怀揣梦想在都市打拼的年轻人，历经了世事变迁之后，在各种机缘下来到绿野山区创业，将都市青年的活力与市场经营的理念注入乡村。他们扎根绿野山水，克服重重困难，携手打造出美丽乡村新图景，实现了各自的梦想。
21-22赛季NBA常规赛 雄鹿VS雷霆
张国强与苗侨卫自小友好,大学毕业后,张任职海关,苗任职毒品调查科.苗与高飞同为调查科高级督察,暗里与泰国金三角走私客挂钩,从中获取暴利金三角毒贩吴真宇不甘被二人分薄利益，命香港之党羽黎汉持偷取他俩之罪证作要胁，反被二人设计赶尽杀绝。苗等欲拉拢张合作，被张拒绝，高派人杀张全家，张幸保性命，逃往泰国，匿藏表妹单桂枝家中。苗、高为刘铲除吴镇宇，前往泰国与走私生意的拍档任达华共商策略，二人得悉张亦在泰国，乃想出一石鸟之计。高约吴在酒店讲数时，枪杀吴，嫁祸张张，吴之未婚妻大岛由加利赶至，与张大打出手，单劝张离开。大岛终查出吴为任等人所杀，设下圈套，引任、苗、高到来，张负伤赶至，各方人马在毒枭的山头总曾爆发一场惨烈的大决战！