曾经名满武林的花间派，面临掌门失踪、巨额欠款的破产危机，大师姐花想容临危受命，重拾《武林不二周刊》招牌，报道江湖大事小情；前有深情高富帅，后有失忆美强呆；二货师弟师妹不算靠谱，还有债主上门同行竞争。江湖工作虽不易，甚幸一派同心闯难关！我们不二，我们独一无二！路过的大侠，来一份新周刊呐～
麦琪（伊丽莎•班尼特 Eliza Bennett 饰）是一个生活在德国的12岁小女孩，她和父亲阿莫（布兰登•费舍 Brendan Fraser 饰）相依为命。妈妈莱莎（Sienna Guillory 饰）在麦琪尚在襁褓中时便神秘失踪，十几年来阿莫凭借旧书装祯的手艺维持父女二人的生活。麦琪对母亲的下落充满好奇，而父亲则三缄其口。孤单的小女孩每日徜徉书海，任凭思绪飞扬。某晚，一个肮脏邪恶的家伙（Paul Bettany 饰）闯入父女的家中，阿莫和女儿仓皇逃到姑妈爱利诺（海伦•米兰 Helen Mirren 饰）的家中，此时麦琪终于得知母亲失踪真正的原因以及父亲所具有的神奇能力。原来阿莫能够通过阅读将书中的人物带到现实的世界中来，而这也正是灾难的开始…… 本片根据德国著名女作家科尼莉亚畅销丛书中的第一部改编。
《灼眼的夏娜》TV第二季的故事将从小说第八卷开始讲起，以NDS游戏《灼眼的夏娜DS》中的登场人物，红世之徒，戏睡乡“メア”入侵御崎市开始开篇。据监督渡部高志所说，故事会对第一季的一些伏笔作出解释，并加入不少这个时代的小故事。第二季STAFF和声优会由原班人马担任，“钉宫之誓”依旧强势走高。 夏天结束后，新学期开始了 许多事物没有任何变化，但是同时也有不少事情逐渐发展着… 池和吉田，绪方和田中之间产生了些许微妙的关系 还有在我身旁，飘逸着长发的夏娜… 但是，这一切似乎有着一丝奇怪的违何感 在我们所不知道的地方，红世之徒再次展开了行动…
一个17岁的女孩和她的父亲一起照顾她的精神和身体严重残疾的妹妹。这越来越让人筋疲力尽，因为她不得不牺牲自己的生命和梦想。情绪失控，爱很容易变成恨。怎么过这样的生活？有没有可能在这里找到一个折衷方案？ 一部出色的电影，将那些被迫在这种情况下的人的经历和选择带到了一个可怕的接近，这样做非常现实，没有悲情。只有对这个话题有透彻的了解才能做到这一点。导演玛歌·邦霍姆本人
名记彩妮（乌汶叻公主 饰）不经意间发现一个惊天秘密，一家化工公司竟然拿活人做实验，研制一种新型致命病毒的抗体——x计划。记者的天职促使彩妮立即行动，她要营救这些无辜的受害者，伹她的行动马上被该公司总裁桑（余文乐 饰）盯上，他派人日夜盯梢，以期杀人灭口。国安局行动负责人阿杰（查克利·彦纳姆 饰）深知x计划的危害，他下令封锁消息，并将感染病毒的活体悉数找出、全部消灭。彩妮的父亲深知卷入此事的危险，他重金聘请顶尖杀手阿达保护女儿的人身安全。一项无意中发现的残忍实验把彩妮、阿杰和桑推入万劫不复的深渊，周围充满了死亡的气息，而环环相扣的陷阱使彩妮再不敢相信任何人......
多年前永恒星统领盛元因为私心被“银河魔方”的能力反噬黑化，被墨制裁后消失在银河系。墨成为了“银河魔方”的“守护者”，为了保护盛元的幼子，墨将他送入地球。多年后的一天永恒星的余孽意图抢走“银河魔方”，双方打斗中，成规宝石掉入了地球上一家名为“银河大排档”的店，店员们的身体里都产生了不同的超能力。而店员罗平安也通过魔方结识了永恒星余孽知道了自己的身世，在永恒星余孽的教唆下意图复兴永恒星，杀掉墨。店员木姜子不愿看到好友沦落为复仇的工具，却被罗平安误杀，大排档里的店员满心悲愤，共同抗敌。经过墨和店员的共同努力，罗平安的计划失败，消失在了银河系。
三年前，吴刚因涉毒被贩毒集团K所杀，其子吴振峰（陈晓饰）因莽撞违纪被开除警籍。吴振峰心如死灰，被兄弟陈宇（王一博饰）阻拦出境，途中二人险遭劫持，吴振峰为救陈宇被毒贩掳走，从此再无音讯，这一刻二人的命运被彻底改写。三年后，陈宇成为禁毒民警，不料吴振峰再度归来却与命案牵连。吴振峰洗刷嫌疑后，却被陈宇发觉他与贩毒集团有着千丝万缕的联系。为彻底歼灭贩毒集团，陈宇服从上级部门的安排，脱下警服开启禁毒生涯的新历程。与此同时他才得知吴振峰竟是潜伏在贩毒集团的孤胆英雄。陈宇与吴振峰先后打入贩毒集团内部，两人默契配合，并肩作战，最终在公安部署下将贩毒集团一网打尽。兄弟二人继续投身于公安禁毒事业中，不忘初心，牢记使命。
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.
安小龙一个人来到一座大城市寻找自己的师兄，可惜中途丢失了钱包，身无分文的他到处寻找工作，机缘巧合之下，他来到山庄当起了服务员并认识了梦琪，可惜安小龙在服务部受山庄的保安队长陷害，安小龙大受刺激离开了山庄。 后来安小龙偶遇一位导演 ，安小龙的武功让导演看中，导演派助理张影帝跟着安小龙，导演给张影帝下命令，务必把安小龙给劝回来。 张影帝成了安小龙跟屁虫，安小龙去哪，张影帝去哪，结果他们闯入一个犯罪现场，并且很巧合的拿了犯罪团伙最重要的箱子。之后张影帝打开箱子才知道，对方在交易非法的古董，安小龙要报警，张影帝不让。说等拿到证据，人赃俱获再报警，安小龙同意了。 经过一番周折，安小龙发现幕后老板武哥竟然是自己的师兄，安小龙为了正义，把武哥打得节节败退，安小龙义正言辞的教训武哥，说当年一起练武，为了匡扶正义除暴安良的信念哪去了、最后，武哥被打醒了，他认识到了自己的错误，他觉得对不起师傅，后悔至极，然后自首了。 最后，安小龙和梦琪再次相遇，梦琪挽留安小龙，安小龙留在了大城市，梦琪想让安小龙继续教自己功夫，他们成了一对恋人。
玛丽亚・杜兰是一位报社新闻记者，擅长推敲各种细节，逻辑思维敏锐，生日当天亲眼目睹了一系列“不可能”犯罪发生在她眼前，命运的轮盘从此骤然加速，她与唯一幸存者神秘的安妮亚的命运交织在一起，成为惊天大案的终结者，不料所面对的却是令人窒息的威胁和困境，玛丽亚在她同样心思细腻的心理医生的帮助下,带着安妮亚顽强反击，一步步逼向终极真相……
刘邦继承了四千万遗产，在姑母的丧礼上邂逅了花，不能忘怀。后来更发展成为不能割舍的关系，因而请锋追求自己的妻子欣，以搜集其通奸的证据。最后锋情不自禁爱上了欣，更错手杀死了邦，被捕入狱，欣却与花飘然远去了……