1960年代的香港，报馆编辑周慕云（梁朝伟 饰）与太太搬进一间住户多是上海人的公寓，和某家日资公司的贸易代表陈先生与太太苏丽珍（张曼玉 饰）成了邻居。因为发现各自在外工作的配偶背着他们有了婚外情，周慕云和苏丽珍开始见面商讨未来可能发生的事情以及相应对策。 起初两人是君子之交淡如水就事谈事，可是日子一日接一日过去后，在周围一帮上海邻居的闲言碎语中，他们发现配偶的事
空军903师是一支有着光荣传统的优秀部队，副师长印双虎（李光洁 饰）飞行技术高超，是师长的有力竞争人选。在与参谋长岳双龙（王斑 饰）的演练对抗中印双虎胜出，但其僚机却遭遇飞鸟撞击事故，在鸟类学家柳琪（黄奕 饰）帮助下，印双虎未受责罚。不久后，岳天龙担任903师师长，印双虎颇为不甘，柳琪亦调入常务连成为空军一份子。印双虎与岳天龙的矛盾因训练理念不同而爆发，熟稔国外空军训练的岳双龙强调实战，而印双虎更尊重前人的摸索经验，二人争执不下，岳天龙随即提出分组对抗，印双虎与岳天龙两位优秀空军指战员展开了一系列伴随着惺惺相惜的对抗与合作……
故事发生在美国南北战争时期。图科（埃里•瓦拉赫 Eli Wallach 饰）是一个图财害命的江洋大盗，因此他被镇上悬赏通缉。布兰迪（克林特•伊斯特伍德 Clint Eastwood 饰）是一个除暴安良的牛仔，他无意中抓住了图科，但嫌赏金不够又掳走了他。在荒漠中，布兰迪惩罚图科让其自生自灭。但是诡诈的图科居然逃过了一劫，并纠集一些帮凶在客栈捉住了布兰迪。正当图科以牙还牙折磨布兰迪的时候，他劫持了一个名叫卡森的士兵。后者临死前留下了宝藏的秘密，图科和布兰迪分别获得了一半信息。与此同时，一个狡猾的杀手桑坦
《做家务的男人》是爱奇艺已成功制作三季，即将推出第四季的爆款生活观察类节目。节目以“男人做家务”为切入点，从柴米油盐的家务活儿里刻画人生百态，从纷繁复杂的家务事儿里透视世间万象。第四季以“家务是件大事儿”为主张，以“全男班集结的家务学院”为升级卖点，欢乐有趣的展现男人“想扫天下，先扫一屋”的家务养成之路。
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.
轰动世界的第一英雄——超人，重返地球，接受大敌挑战，对手是坏蛋雷克斯，他针对超人的弱点，用氪元素制造邪恶的核能人，利用最先进的科学武器，面对势均力敌的对手，超人与其展开太空大对决……本片无论从情节上还是特技上，都是超人系列的最失败的作品。情节简单幼稚，特技粗糙。本集上映后，批评如潮，这也结束了里夫的超人生涯……
毕业前一天，各怀心事的大四毕业生们在略显混乱的校园中上演了一幕幕主旨与情节各不相同的离别戏……正在筹备毕业话剧的张冲（吴建飞 饰）面对暗恋多年的同学小夏（张嘉倪 饰）始终没有机会，然而小夏男友蓝凯在毕业前的背叛似乎给了张冲新的可能；主唱郝飞（大张伟 饰）与搭档们欲连续数十小时演唱挑战纪录；文学系高材生田甜忙着为灾区募捐，而被她指责为抠门苏浩的正为了还清父亲的钱款四处奔忙；农村出身的立禾与学校投资商（曾江 饰）的女儿恋爱却被对其父阻止；痴迷网络游戏的“战神”则依旧对一切视而不见，放弃学业令父亲焦虑不已。告白与分离，顿悟与成长，奋斗与抉择，在这个夏日的离别校园中一一上演……
映画版「覚悟はいいかそこの女子。」は、10月12日から全国公開。ドラマ版は、MBSで6月24日から毎週日曜深夜0時50分、TBSで6月26日より毎週火曜深夜1時28分に放送スタート。初回のみ、MBSが深夜2時10分、TBSが深夜1時35分に放送が始まる。
电影《神龙策2》讲述了北宋真宗年间，公孙策命奔赴赣州，请恩师周伯颜出山协助包拯共倡法纪，不料却意外介入一起沈府灭门血案。尽管“凶手”已经落网，但公孙策却发现案件别有玄机，遂展开调查。公孙策在探寻真相的过程中遭遇重重困难，特别是来自恩师父女的阻挠，案件越发扑朔迷离。公孙策历经波折，在白玉堂的协助下，终于揭开了沈府血案及另外两起相关血案的真相。
一家由黑帮操控的地下扑克赌场，突遇三名悍匪抢劫。赌场老大如临大敌，势要找出幕后黑手。他们找来得力干将杰基·科恩（布拉德·皮特饰）介入调查，让他来找出肇事者重整地下秩序。作为一名老练的赏金猎人，杰基性情孤冷而深藏不露。本来这场由三个毛头小混混设计的抢钱计划，笨拙到一望而知，可赌场管理人马基（雷·利奥塔 Ray Liotta饰）无端被人殴打，老酒鬼米奇（詹姆斯·甘多菲尼 James Gandolfini 饰）无故被杀等事件的意外穿插，又使局面陷入一片混乱。杰基抽丝剥茧，开始了他的深入调查。然而，这正是这场腥风血雨的开始，一场帮派间的温柔杀戮一触即发。 本片改编自乔治·V·哈金斯于1974年创作的小说《柯根的交易》。这部影片是布拉德·皮特和导演安德鲁·多米尼克在《神枪手之死》后再度合作的第一部长片，本片入围2012年第65届戛纳电影节主竞赛单元-金棕榈奖。...