由于匪徒劫持，一对双胞兄弟刚出生即遭分离。弟弟玩命（成龙）被舞女捡到抚养长大，终日浪迹于社会底层，为帮朋友泡妞，他结识了歌女芭芭拉（张曼玉），因此得罪黑社会；哥哥马友（成龙）被一对有钱夫妇带去美国，接受了良好教育长为著名音乐家，回港开音乐会时，结识世伯家的女儿唐心（利智）。阴差阳错中，两人互换角色进入对方生活，由于大家分不清谁是马友谁又是玩命，笑话迭出，芭芭拉与唐心的心思也渐起变化。音乐会上，玩命胡指乱挥不想大获成功，而马友在黑帮威逼下，开车去救被黑帮抓做人质的玩命的好友泰山，随后，两兄弟开始连手共斗强敌。
江湖险、人心更险。以刻划人心险恶、人性诡诈为主题之古装武侠剧《独臂刀客》，故事曲折，布局奇幻。内容引用一把藏着魔教重大秘密的破刀，一个手段残酷，杀人如麻之大魔头公子丹的出现，导致本剧主人翁齐羽无辜牵入一宗武林大阴谋。羽为申张正义，以铲除武林大害为已任，而掀起江湖连番恶斗；几番追查下，终发现倾心相爱的风飞云，竟是雌雄莫辨的对头人公子丹，继而导出正邪善恶亦不过是一线之隔，一念之差!
Shetland is BACK to answer all of the questions that left us hanging at the end of the last series.
平京市索家坟路口发生了一件离奇的交通案件，一名男子受伤后死亡，根据目击证人的供词，刑警队长唐国栋被锁定为肇事嫌疑人，交警队事故科在刘博科长带领下展开了调查，经过进一步走访目击证人以及对事故现场进行了模拟试验，发现唐国栋系遭人诬陷，真正的肇事者是唐国栋正在侦破的案件嫌疑人。刑警队和交通队相互配合，不但找出了真正的肇事司机，还侦破了一起重大的经济犯罪案并将犯罪嫌疑人绳之以法。
Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy... Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time. Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958. Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading. Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
落魄星厨何弦，曾经看不起点心，为了夺回自己失去的一切，为了东山再起，被迫参加点心之王面点大赛。为此，何弦拜师面点之神，组队天才队友，走上点心之路，游学试炼，过关斩将，以热血和实力挺进决赛，最终成长为真正的点心之王。
今年的萨拉·西登斯奖得主是年轻的伊芙·哈灵顿（安妮·巴克斯特 饰）。然而在去年十月，伊芙还只是一个连续数周默默注视名角玛戈·钱宁（贝蒂·戴维斯 饰）的戏迷。被玛戈的朋友凯伦·理查兹（塞莱斯特·霍姆 饰）带到玛戈面前后，伊芙讲述的经历打动了众人。玛戈收留了无依无靠的伊芙，伊芙也尽心尽力地打理玛戈的生活和工作，但是玛戈的侍伴伯迪·库南（塞尔玛·里特 饰）不喜欢研究玛戈的伊芙。热爱表演的伊芙当然不满足于做玛戈的助理，那么伊芙是怎样获得表演机会的？
我是不了解自己是谁的孤独的天才。 你知道自己是谁吗？ 当问到你「你自己是谁」的时候，你一定会一时不知如何回答。这是因为所有人都不是因由自己的意识降生于世。所以，人在描述自己是谁的时候会用上「我是谁谁家的孩子」亦或是「我是在哪里哪里上班的某某」。这明明是在描述自己，却一定要用上自身之外的某样东西。 「我们。」，是自己不了解自己，自己无法控制自己 hellip;也就是说，自己被创造出来源于父母的意志。但最坏的情况，很可能父母都没这么想，由于这样的父母的遗传因子而饱受折磨的人，就是这部电影所描绘的。
大衛韋爾德是一名知名的中提琴家，深深地沈迷於自己的音樂以及事業而忽略了家人與朋友。然而災難卻不期然地以最糟糕的方式降臨，突然的中風使他失去了聆聽音樂的能力，也斷送了他的表演事業。大衛回到老媽經營的牧場修養，在這自然的好風光當中，他與老媽還有外婆共享天倫之樂，他甚至第一次陪女兒看話劇，重拾父女親情。 在這裡，大衛遇到了他的兒時玩伴強尼，以及患有白血症卻仍然樂觀正面的妹妹花栗。大衛跟隨強尼一起上健身房，意外接觸到綜合格鬥，他發現自己在格鬥運動中，竟然能再次聽見音樂。大衛此時面臨著最重大的抉擇：維持重修舊好的家庭關係，抑或再次耽溺於自己的音樂狂熱。
地質学の教授?山本太陽（大谷亮平）とそのゼミ生は、フィールドワークを兼ねて、あと三日でダムの底に沈んでしまう樹海へ向かった。 そこは、戦後ＧＨＱが日本から接収したとされる秘密資金"Ｍ資金"が隠されているという噂があり、その真相を確かめようとしていた。 しかし、そこにはネットで噂となった杉沢村のような怪しい廃村があり、さらに数々の遺体が！ さらに遺体に触れた者は、まるで生きたゾンビのように両腕が動かなくなる???。 残りあと三日というタイムサスペンスのなか、山本達は生きて樹海を抜け出せるのか！？
Nick and Ruben are hoodwinked into a "shootfighter" (no-holds-barred, to the death) martial arts match by the evil Mr. Lee, who has a grudge against world shootfighter champ(and teacher of Nick and Ruben) Shingo.