Ella（李施嬅饰）与Maurice（陈山聪饰）本是不比看好的一对，Maurice在金宵大厦离奇失踪，最后虽然被寻回，大难不死却丧失所有记忆。Ella要解开这个谜，唯有由金宵大厦开始…金宵大厦怪事不断：误闯虚拟世界的电竞队、专业卖惨的母女、孰真孰假的绑架故事、长命契约的活死人…遇过种种奇人怪事，Maurice与Ella的爱情却爱得更轰烈，认定对方为一生所爱。然而Ella爱上并非真正的Maurice，而是因为宇宙引力失衡，而出现的另一个他…
影片讲述了由樊烨和张铭带领的一支营救分队，冒着外星生物的枪林弹雨，不断攻克难题，历经艰险，最终成功营救“方舟计划”外星武器研究科学家夏博士的故事。
Mac因工作沉闷开设梦想中的另类CD店，聘请了奇妙少女Cat当店员。二人不自觉互相倾慕，成为亲蜜性伴侣，却从不确认恋人身份，终于Cat离开了。快要结婚的Michelle因阿哟的出现，人生计划打垮，但为原则不得不跟他分手。Mac与Michelle在CD铺面临倒闭前相遇，不禁以最原始方式排遣孤独，岂料他们之事被Cat发现，大受刺激的她遇上意外……
一个充满了报复心的人，用牢固的Kevlar合成纤维为自己打造了全身盔甲，开始了一场杀人狂欢。
卡尔·西奥多·德莱叶这部喜剧引出心灵流变的轨迹，并在喜剧形式表现中要求夸张的转折与表演方式。他的简单主义从《总统》的办公室开始到玛格丽特夫人的屋舍，更趋向朴质。而对容貌的描写这里也有了开端。影片中的骗徒，终究抵抗不了良心的责备以及虚假婚姻阻隔与女友之间的真情。但有趣的是，被骗的老妇却早已察觉他的不怀好意但又绝非恶徒。反而是外力最后促使内在的圆满。
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.
阿富汗国会大选召开在即，为了保证大选的顺利进行，美国海军陆战队联合特种部队对辖区进行一系列彻底的清查。在某个动荡的地区，前塔利班头目艾哈迈德·沙赫趁机做大，成为了一个美国急欲除掉的眼中钉。根据线报，沙赫的武装部队隐藏在某个山区，海豹侦察小队中尉麦克·墨菲（泰勒·克奇 Taylor Kitsch 饰）带领丹尼·迪茨（埃米尔·赫斯基 Emile Hirsch 饰）、麦特·阿克塞尔森（本·福斯特 Ben Foster 饰）以及马库斯·拉特尔（马克·沃尔伯格 Mark Wahlberg 饰）三名队员前去搜寻情报。但是他们的行踪很快被当地的牧羊人发现，虽然对方是普通的平民，可却为小队提出了难题。处决牧羊人，小队将面临军事法庭的审判；释放牧羊人，这四个美国军人将可能陷入前所未有的灭顶之灾中…… 本片根据马库斯·拉特尔（Marcus Luttrell）的同名回忆录改编。
本片为楚原（笔名秦雨）1980年自编、自导的动作片，由狄龙、白彪及井莉领衔主演。故事改编自朱羽的民初武侠奇情小说，讲述邓彪（狄龙）黑货买卖失手，遂逼江湖人物高明（王戎）供出从中陷害者，高说出乃黑豹所为后，即被邓开枪杀死，邓因此被判监禁十五年。邓出狱后即找黑豹报仇，却遇势力庞大的葛八爷（白彪）乾扰；同时商琳（井莉）为寻失踪十五年的丈夫，欲找邓查问黑豹下落，但两人仅听过黑豹其名，从未见其人，究竟黑豹是谁？
影片为黑色喜剧，男主为了向前妻证明自己的勇敢竟贸然抢劫了银行。警察开始调查犯罪案件却遗漏了这个看上去非常斯文又正派的幕后黑手。一场诙谐又紧张的猫鼠游戏正在上演。
故事讲述一位挪威裔神秘男子，让碰到自己的少年突然自燃，并被控谋杀罪名。在接受审问之前，一位心理医师惊人发现，他竟然拥有无法控制的超自然能力，而这股力量可能来自于北欧神话，于是她决定帮助这位神秘男子逃狱，一同踏上寻找真相的旅途。