幼时父母神秘失踪，生活在孤儿院的唐淼，一直憧憬着有一位白马王子从天而降。 英俊潇洒，富可敌国的萧已书无疑就是这个人。在这个男人的帮助下唐淼不仅顺利的完成学业，还收获了一份永世难忘的爱情。而在一个水乳交融的夜晚之后，萧氏大楼发生了爆炸。 萧已书及众董事会成员受到放射性污染全都变成了熊孩子。一边是父辈辛苦30年打拼的萧氏制药江山，一边是自己最心爱的女人唐淼......以兰黛尔为首的公司董事会暗流涌动，与弟弟萧已寒多年以来的手足情深也即将毁于一旦…… 家族的命运，兄弟间的手足情深，还有自己最心爱的女人以及这
爱林（希拉里·斯万克 Hilary Swank饰）从事的第一份教育工作，就是在威尔逊学校一个糟糕透顶的班级里担任老师。这里有着给老师们带来噩梦的学生：他们虚度光阴，消磨时辰，把学校当成18岁之前的游乐场；更混乱的是，学生们来自社会里的不同种族和各类底层阶级，分帮结派互相斗殴。 爱林想方设法让仇恨远离孩子们的心，消解他们之间的敌意，可是，作为一名白人老师，孩子们对
刘成德因误杀人刑满释放后，接回了自己多年不见的儿子，去当了出租车司机。满以为新的生活就此开始，却不想早年相识的大哥不再是曾经，叛逆的儿子不听管教……@www.molikan.com
清晨，一手拎包一手拉拉杆箱的美女菁菁正在路边等出租，突然窜出来一个混混黄毛把菁菁的手提抱抓住就跑，菁菁刚追几步，屁股后面拉杆箱又被瘦猴抢走，并朝相反方向跑去。正当菁菁犹豫不决的时候，一名斯文人打扮的赵李德全骑着摩托来到菁菁面前，大喊姑娘要冷静赶紧打电话报警。菁菁感激地点了点头掏出苹果6S还没划开，被李德全一把夺过飞奔而去。
爱德华·詹姆斯·奥莫斯(《银翼杀手2049》《神盾局特工》)将自导自演一部新片《魔鬼有一个名字》(TheDevilHasaName)，大卫·斯特雷泽恩(《黑名单》《哥斯拉》)也参演。该片定义为“一部有关环境的黑色喜剧”，真实故事改编，讲述一个精神错乱的石油大亨与一个固执的农场主展开激烈对峙，因农场的水遭到石油污染。斯特雷泽恩饰演农场主，奥莫斯饰演一位墨西哥移民和知己。RobMcEveety操刀剧本，TrueNavigatorMedia投资和制作。
在出版社发行部工作的袁苇提出结婚前必须签订不要孩子的合同，在广播电台情感热线做主持人的男友崔大林深爱袁苇，几经斗争最终同意了袁苇的要求。这个合同把一个传统的家庭折腾得人仰马翻。
毕龙身为李悠悠的保镖为了调查一直以来想要刺杀李悠悠的罪魁祸首，按照李悠悠的孪生妹妹杀手李刀锋临走时所留下的线索来到了一家情趣酒店，却发现了李刀锋的尸体，并被警察误认为是杀手进行追捕，毕龙知道是圈套只好摆脱警察逃走。 逃走的毕龙接到了策划这次杀人案的电话，并且得知只有按照他所说帮他找到些东西才能摆脱杀人的罪名，毕龙只好按着他所说的做。 李刀锋的情人杀手刀疤跟李刀锋一起被掳，经过了一番搏斗逃了出来，却因为看到看守的手机上有毕龙杀害李刀锋的信息，误以为杀害刀锋的凶手就是毕龙恼羞成怒开始了刺杀毕龙之路。 警察找到李悠悠，李悠悠的得知了孪生妹妹李刀锋的死讯，却怎么也不相信是毕龙所为，警长林怡想从李悠悠作为突破口抓捕毕龙的计划随之落空，只好发布了全城通缉令。 毕龙按照神秘人的指示到麒麟堂找过江龙，过江龙一改之前的态度，排兵布阵迎接毕龙，过江龙告诉毕龙自己很欣赏毕龙，但是他也知道毕龙是来抢麒麟玉的。言语不合只好开打，毕龙撂倒了所有人，从过江龙的身上抢到了麒麟玉。 毕龙又接到神秘人的电话让他去找永孝堂的疯狗，拿永孝堂的孝子棒。毕龙一边无奈的接受着神秘人的指令，一边暗中调查着他。 警长林玲带领警察赶到麒麟堂，发现过江龙等人都被人杀死了，并且用的是南国特种兵专用的刀，所有的证据都指向毕龙。 毕龙又来到永孝堂的ktv找疯狗，毕龙却发现整个永孝堂已经被人屠戮殆尽，只剩下奄奄一息的堂主疯狗，疯狗告诉他是刀疤杀了疯狗，并抢走了毕龙想要的孝子棒。 毕龙不明白为什么已经与毕龙冰释前嫌的刀疤会突然变节去帮助神秘人，各种复杂的信息和过渡的疲劳让毕龙昏倒在了路旁。 毕龙苏醒的时候已经在警车上，被林怡警官用手铐紧紧的锁着，毕龙怎么向林怡解释林怡也无法相信刀锋不是自己杀的，毕龙只好施展特种兵的技能摆脱了手铐，锁住林怡再次逃了出来。 毕龙不知此去结果如何，去之前偷偷跑回酒店见了李悠悠一面，两人互表心意深情相拥。 按照疯狗临死所说找到了刀疤，不管毕龙怎么解释刀疤也不相信，两个人只好为了孝子棒展开了一场特种兵之战，最终毕龙击败刀疤，夺回了孝子棒。 神秘人最后的指令也来了，让毕龙到最后的地点忠义堂，抢夺堂主陈永福手中忠义堂的信物忠义匾。 毕龙带着两堂的信物到了忠义堂，发现这里竟然是一个宗家祠堂，上面豁然立着陈国良的灵位，一个年轻人走了出来，向灵位上了三炷香，并告诉毕龙他就是陈国良的儿子陈永福。 毕龙恳求陈永福交出忠义堂的信物，这样自己才能洗脱杀人的嫌疑，陈永福冷静的拿出电话，毕龙的电话响了，毕龙这才知道一直操控自己的神秘人原来就是陈永福。 陈永福之所以让毕龙去抢夺三人团另外两团的信物也是为了借毕龙的手统一南国的黑道，如果毕龙被两堂杀掉，也是为自己报了仇，一箭双雕，并且欺骗刀疤在毕龙之后杀了两位堂主，现在连刀疤也被毕龙除掉了，就只剩下一个重伤的毕龙了，陈永福两下就将重伤的毕龙和手无缚鸡之力的悠悠击倒在地。 两人在生命的最后时刻胡吐心声，最终表白，陈永福看着二人冷笑不止，眼看陈永福就要结果二人的性命，毕凤和林玲突然出现，挡住了陈永福，救下了毕龙和李悠悠。 但是二人依然不是陈永福的对手关键时刻刀疤出现合四人之力最终将陈永福击毙。
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.
深受重创、心力憔悴、痛失亲人，这名私家侦探必须顶住压力，破解错综复杂的谎言，揭开一桩别墅谋杀案背后的真相。
《浪人的餐桌》是久住昌之的散文作品，后来由《料理复活王》作者土山茂绘制漫画，这个书名也与《孤独的美食家》第二季主题曲同名。故事讲述工薪族香住武（竹中直人 饰）一个人吃饭喝酒的愉悦画面，由《孤独的美食家》团队制作。久住表示，一边喝酒一边看一定会很有趣。铃木保奈美表示，看完这部电视剧肚子会饿的，希望能让大家的肠胃变得元气十足。
小蜜蜂“玛雅”充满了对外面世界的好奇，决定和好朋友“威利”飞出蜂巢，一探究竟。 在路上，结识了新朋友小黄蜂，可是“玛雅”怎知蜜蜂与黄蜂，为了争夺花粉，素来是天敌。 面对蜜蜂家园里，篡夺蜂后王位、嫁祸黄蜂军团的阴谋，面对一触即发的族群大战，在这险象环生的大草地里，正义善良的小蜜蜂“玛雅”，能否解开谜团，勇敢前行？
本片由若干或小或大的单元构成。 一样米吃出百样人，1970年代初的香港，有诸多怪人怪事：比如，英俊小生（郑少秋）立于街边不时看表，对来来往往将他指看的女孩毫无反应，某老翁快步走上前将他揽起哄起，他立刻撒娇发嗲欢呼雀跃；比如，功夫爱好者（姜大卫）梦中一手漂亮功夫赢得女友（李琳琳）欢心，现实中遭遇相同场景，他不仅出尽洋相更被人打翻在地，而女友三下五除二帮他解围；比如，丈夫（谭炳文）下班到家即沉浸在电视的世界，为之笑为之哭，对换鞋、吃饭，甚至陪娇妻（李香琴）睡觉等事都没有半点兴趣……而爱借助假肢偷窃的富家公子哥（姜大卫）每次行窃完毕，总有尾随着他的管家出来善后。某次他无意间在赌场得知有宗交易要秘密进行，来了大兴致，其后虽然偷窃成功，却因遗落假肢惹下麻烦。