这部滑稽动作片并没有什么合理的故事情节，剧情也非常简单，一句话，就是小妹头露云娜被几名恶人追杀，被面恶心善的修车师傅大煞星乔宏出力相救……但是这部作为吴宇森早年在嘉禾电影公司拍摄的喜剧电影，当年可是香港票房前三名哟！
在这部滑稽、干涩、半开玩笑的科幻恐怖喜剧中，一个巨大的模糊手指从外太空落下来，威胁着一个女人，打断了她在家孤独的夜晚。
张扬敢拼的磊乐（郭富城 饰）与内敛善谋的南江（梁朝伟 饰），在因缘际会下携手，破除旧规，立威造势，在磊乐太太蔡真（杜鹃 饰）的斡旋下，成为黑白两道人人皆知的“双雄探长”，二人自此叱咤香港三十年。然而在表面的平静与制衡之下，火并、谋杀、背叛、夺权……暗流涌动，一触即发！
大宋年间，高唐州武都统遭刺身死，高俅向皇帝保举名将呼延瓒后人呼延灼上任高唐，侦办此事同时剿灭梁山贼寇，呼延灼年轻气盛立下军令状，要在三月之内剿灭梁山。这下正中了高俅的圈套，原来高俅想借机除掉呼延一族，剿灭梁山只不过是他的一个幌子罢了。呼延灼上任后，开始着手自己的剿灭梁山计划，训练连环马。然而，此时高俅却派出自己的侄儿高廉出师高唐知州，暗中监视呼延灼，并找寻一个账本。原来高唐的武都统正是被高俅派人杀害，这武将拿着高俅一党贪污军饷罪证的账册，当高俅发现自己拿到的账册是假的后，便派高廉通过各种渠道查询，当得知账本在呼延灼身边的一个小兵刘迈手里，就到处追杀此人，呼延灼渐渐感到高唐州的事情不像他想得那样简单，刘迈跟他讲出了事情的真相，令他十分震惊，一股强大的黑暗力量正向他步步逼近。最终因呼延烈的学生、呼延灼的同窗，为了仕途出卖呼延父子，呼延烈遇害身死牢中，满腹忠忱的呼延灼对朝廷彻底绝望，投奔梁山。
位于东京某公寓的单元内，居住着四个年轻人，他们是迷恋前辈女友的大学生杉本良介（小出恵介 饰）、深爱着作为演员男友的无业女大河内琴美（贯地谷しほり 饰）、一心想成为插画师的相马未来（香里奈 饰）以及终日为工作奔波忙碌的电影公司职员伊原直辉（藤原竜也 饰）。他们性格各异，倒 也情投意合，生活波澜不惊。某天，一个年仅18岁的男妓小悟（林遣都 饰）闯入他们的世界，表面平静和谐的生活就此失衡。与此同时，隔壁的神秘邻居以及附近不断发生的行凶事件也令这个充满躁动的世界进一步崩塌…… 本片根据吉田修一的同名原著改编，并荣获第60届柏林电影节国际影评人费比西奖。
刘大雷（刘小光饰）是一个平平无奇的快递员，每天过着混吃等死的闲散生活。刘大雷爱慕名为罗小美（赵海燕饰）的老板娘多时，在他的热情攻势之下，罗小美总算是有了回应，刘大雷即将品尝到期望已久的爱情果实，就在这个节骨眼上，刘大雷失散多年的儿子小小（汪涵饰）意外的出现在了他的面前，搅黄了他的爱情美梦，与此同时，刘大雷还不得不再度担负起作为一名父亲应该肩负的责任。刘大雷希望能够在小小面前树立自己的威信，成为儿子心目中的英雄，为此，他无所不用其极，可结果总是不尽如人意。刘大雷还因为陷入了赌博的旋涡之中，而在小小面前颜面失尽。
本作の舞台は、有名監督による大規模な映画の撮影が行われることになった石丸村。同地で生まれ育った女優を抜擢する名目で訪れた謎の指導者・百合園凛子によって、石丸村唯一の劇団「そよかぜ」の劇団員たちが徐々に互いをライバル視し、争うようになっていくさまが描かれる。
当男英雄沙赞被邀请加入正义联盟时，他并不情愿，但当他的对手怪物协会将联盟置于危险境地时，他是唯一能拯救他们的人。
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.
7月13日 2022NBA夏季联赛 老鹰VS热火
对画画充满一腔热爱的隋汴迫于生活的压力，不得已成为了一名专职网约车司机，最初完全不满于当个司机的隋汴却打开了人生的新篇章，开始和不同职业不同身份的乘客上演悲喜交加却十分现实的故事落魄的电影导演刘小君，有着明确的创业计划和未来蓝图却惨遭现实打击的午夜派送员托尼贾，被父亲寄予厚望却希望成为一名演员的电子竞技职业美女选手霍兰……真性情的隋汴不仅努力继续着自己的人生，也会意外地参与到别人的人生中去，并从别人的故事中得到更多感悟。一个人坐上车，一个人又下了车。一个故事来了，一个故事又走了。