乔纳森·莱斯·梅耶斯加盟新片[阿斯彭文稿]。影片改编自美国作家亨利·詹姆斯同名短片小说，由法国新锐电影人朱利安·蓝戴斯执导并创作剧本。小乔此次饰演书中以第一人称出现的莫顿，为了寻找诗人阿斯彭的手稿，悄悄接近他的情妇。书中阿斯彭这一人物，一直被读者认为影射了拜伦。
Satan破解心率锁，得到全球人口数据云库，他的方舟计划得以继续进行，40亿生命危在旦夕！然而又一道算法公式阻止了Satan，数据云库已被加密，破解算法的方法竟然在北奥统一考试的试卷上。苏醒后的阿J决定参加考试，抢在Satan之前破译算法。 谁也没有想到的是，阿J因为昏迷太久，被诊断患有数字过敏症，无法再接触与数学有关的任何东西。 方舟计划还在进行，Satan步步逼近。阿J能否战胜心魔，挽回已经失衡的天秤？
该剧讲述的是被称为国情院最高要员的一个男子寻找导致自己堕入深渊的内部背叛者的存在，与组织背后存在的巨大怪物展开对抗的故事。他为了达到目的不得不需要抹去自己的记忆，讲述了他面对自己内心深处黑暗的故事。
在高中时期曾是橄榄球社王牌的国生宙，总是无视队友单打独斗，最后因伤落寞引退。毕业之后，宙更坠入人生谷底，求职失败、惹出暴力事件遭工地开除，甚至因为付不出房租被赶走。就在此时，「附宿舍、包三餐、训练期间给薪，这么好的工作哪里找！」，在陌生男子八女的劝诱下，宙抱着姑且一试的心态成为自卫队候补生。严酷的训练、萌芽的恋爱、真挚的友情…，陆上自卫队Life，欢迎登入！
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.
故事发生在解放战争时期。山东某县组织部长常山（刘小浩 饰），奉县委之命，带孟思远（杜淳 饰）、王三成（印小天 饰）、娄振（李帅 饰）等干部率支前队伍奔赴淮海战场。战役后，地委书记唐智先（刘之冰 饰）传达中央精神，决定从山东抽调15000名干部随大军南下，接管解放区政权。常山因老母体弱多病，报名时产生过动摇，王三成与好强的媳妇达成协定，女人在家带孩子种地，他随军南下。娄振因家中三代单传，加之老婆怀孕，他想留在家中，遭到他人的讥讽。当第一批南下人员报到后，周玉（李小冉 饰）也出现在了名单中。由于名单中没有孟思远的名字，他遭到司徒梅（车晓 饰）的奚落，在母亲的劝说下，他走进了南下的队伍……
贺盈（余安安 饰）是含着金汤匙出生的千金大小姐，为了得到一份隐藏了重大商业机密的录音带，贺盈找到了名为罗力（狄龙 饰）的男子，花重金雇佣他前往柬埔寨，寻找录音带的所有者乃文（高飞 饰）。这将注定是一场充满了危险的旅途，因为乃文并非普通人，而是一名经验丰富阴险狡猾的杀手。 为了任务能够万无一失的完成，罗力找到了好友阮南星（陈惠敏 饰）、雷泰（罗烈 饰）和白兰氏（陈百祥 饰）等人，一行人组成了敢死队小组奔赴柬埔寨。经过了重重的波折，罗力出色的完成了任务，甚至生擒了乃文，将他交给了贺盈。可是直到此时，罗力才发现，自己已经陷入了一个巨大的阴谋之中。
有“情圣”之称的云帆（姜潮 饰）与几个恋爱达人朋友组成了“恋爱操作团”，成立了一家专门帮助单身客户解决恋爱问题的爱情中介公司——爱情公社。主要帮助那些不会谈恋爱，不懂得如何追求爱情的男女实现爱情理想，帮助他们改变形象、撰写情话、制造氛围，通过对被追对象的了解量身定制解决方案，帮助单身客户跻身恋爱的大本营。在为爱情出谋划策的过程中，云帆遇到了一位影响公司命脉的大客户，却发现被追的女主角竟然是自己一直难以忘记的前女友王妍（周韦彤 饰），两人相爱相杀，在感情刚有转机之时，一直暗恋云帆的夏薇（李漫荻 饰）揭穿了两人当年分手的真正原因......
In the haze of a midlife crisis, an architect begins living a double life as a punk while members of his family lead their own crisis-ridden lives.
21-22赛季NBA常规赛 篮网VS黄蜂
小桀的父亲是名顶级猎人，却在他很小时就离开了他。多年后，天资聪慧生性善良的他也决定成为一名猎人，并借此去寻找素未谋面的父亲。 在考取猎人证的过程中，小桀结识了杀手家族出身的奇犽，火眼睛族的唯一幸存者库拉皮卡和想要成为救济穷人的医生的雷欧力。并且和西索，一个视强者为猎物的神秘魔术师形成亦敌亦友的关系。 经过重重考验，小桀顺利拿到猎人证，可是对与小桀来说，考验才刚刚开始。
故事简介:大学时代，女主角陈怼怼的闺蜜林沫替陈怼怼追校草何天明，最后自己却和何天明牵手，而女主角陈怼怼反而成了他俩爱情的见证者，由此引发了一系列扎心的故事好在陈怼怼的同学刘海一直在背后默默照顾她，为了追求陈怼怼，刘海可谓是用尽心机，无所不用其极，虽然有些举动出人意料，但是他对陈怼怼的爱至死不渝。时光荏苒，转眼大学四年匆匆而过，刘海和陈怼怼越走越近，但始终差那么一点。直到陈怼怼收到林沫和何天明的婚礼请帖才深深触动了她，她开始渴望爱情...