暂无简介
萨姆（杰拉德·巴特勒 Gerard Butler 饰）曾经是一名游手好闲的毒贩，他的妻子琳（米歇尔·莫娜汉 Michelle Monaghan 饰）在皈依上帝之后，拒绝再当薪资丰厚的脱衣舞娘而找了一份普通工作，这更是另萨姆感到烦躁。然而在每次被迫陪同妻子去教堂的过程中，他的态度似乎在渐渐转变。直到一天，他突然向家人提出他将跟随一名传教士远赴苏丹。家人愕然但也唯有放行，然而这一行却彻底改变了萨姆的人生轨迹。在苏丹的夜，萨姆总是被嘈杂声吵醒，村庄老小都往一个反向涌去，此时他才得知这是因为父母要将孩子送到安全的地方睡觉，因为也许明天村庄将不复存在。内心受到极大震颤的萨姆决定，要在此地建立一个孤儿院，然而在动荡不安的环境下以及敌方无情的杀戮中，孤儿院的守护远比建成更艰难，萨姆的路才刚刚开始…… 本片根据一位名叫萨姆·奇尔德斯（Sam Childers）的真实故事改编。
花苹（黄翠茹饰）是一名警察，曾经，她因为丑陋的外貌而饱受欺凌，一次意外中，她面部受伤，需要接受整形手术，如此一来获得了如花的美貌，人生因此开启了新的篇章，这让花苹更加坚信美貌决定命运。偶然中，花苹邂逅了曾经的暗恋对象罗大树（萧正楠饰），后者并没有认出早已经改头换面的花苹，与此同时，悲惨的童年经历让罗大树对整容有着深深的成见。一次任务中，花苹需要和警草邢蓝（黄子恒饰）假扮夫妻打入“师奶圈”套取破案线索，哪知道刑蓝意外受伤，罗大树顶替了他的位置。就这样，花苹和罗大树开始了他们的“婚姻生涯”，在打打闹闹跌跌撞撞之中，一对欢喜冤家情愫渐生。
老王是一位游走于地铁上，多年来一直暗地里默默无闻的保护着人民群众财产生命安全的公安民警。热血的年轻民警林杰被上司派给老王做助手，一开始不适应暗地里查访的办案方式，闹出不少乌龙。在老王帮助下逐渐适应了新的环境，并协助老王破获了一起大案。老王常年工作在外，无暇顾家，老婆离婚，女儿也误解自己，老王十分痛苦。林杰看在眼里，决定帮助老王一家破镜重圆。老王在林杰帮助下终于取得妻子女儿谅解准备复婚，然而就在复婚之前的最后一个案子里，老王被歹徒持刀刺伤，光荣牺牲。三年后，已经成长起来的林杰在地铁站等来自己的新助手，原来是老王的女儿梦儿，两人相视一笑，共同踏上维护人民群众财产安全的新征程。
本片是根据加州连环杀手William Bonin的真实故事改编。多年来，William Bonin（Scott Leet 饰）在加州的路上开着车寻找他的下一个受害者，公路旁可以看见丢弃的被殴打过的、遭性侵犯和肢解的尸体。看似诡计多端的凶手总是能很容易躲避警察的追捕，让警察捉摸不透他的身份。但当警察发现了凶手的身份后事情变得更加棘手，究竟有多少人遭遇了杀害？
Ellen Carter's career is on the rocks. She hasn't written a worthy novel since her husband went missing and she was suspected by the police of murdering him. To top it all off, she has reason to believe that her new tenant Leslie Steckler is the serial killer responsible for a number of deaths in the region. But what she doesn't know is that, in the meantime, Steckler has discovered a little secret about her...
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.
胡天是年青奸刁生意，他伙拍旧爱林珊妮在公司出shou彩劵利，中jiang便可林一夜春宵，胡更组织林珊妮与上司买卖猎取欢心，从此青云直上。众上司再次需求与漂亮的蔡爱莲买卖，但一差二错将女友汪明媚组织予上司，恶行遭女友揭露。情节发人深思，挖苦实际，编剧应记一功。
社团大哥大华（任达华 饰）通过鸡包（林雪 饰）的安排前去执行非常棘手的社团任务，于是重新召集自己手下最信得过的兄弟阿春（陈小春 饰）、高天（伍允龙 饰）、叉烧（张兆辉 饰）、超人（梁烈唯）以及自己的女儿（邱意浓 饰）一同重出江湖，不料在执行任务时，却一次次失败，遭遇社团和警方的双重围剿，兄弟几人不得不拨开重重迷雾，抓出内鬼，找出真相……
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