末世来临，凌默的异能觉醒，他发现自己居然可以控制丧尸。 凌默利用自己的异能穿过尸潮，终于找到了心爱的女友—叶恋。却发现她已经成为了变异丧尸。 为了帮助叶恋恢复神智，凌默踏上了末世求生之旅……
2019年《中国好声音》目前确定：那英、王力宏、庾澄庆、李荣浩担任导师。新一季好声音全面回归转椅模式，节目定于7月19日开播。
小马（金子贤饰）和新志（安藤政信饰）是一对好朋友，他们喜欢在操场上一起踩辆单车。作为“坏学生”的他们，总是跷课闲逛、捉弄老师、欺负同学等等。 有一次小马被人揍打，对方是一个经常被他欺负的学生找来的拳击手。受到打击的小马开始学习拳击，想要争口气。新志也跟着学，没想到他却更有练拳的天分。后来小马放弃学拳，加入了黑帮当小弟。而新志却发奋练习，并有所收获。等待他们的又将是什么样的未来呢？ 几年后，小马和新志在街头巧遇。几年间发生的事情让他们改变了不少，又似乎什么都没变，两个坏孩子再度回到昔日的校园。
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.
讲述都市才女Ruby离开电台，自开发型屋，各方人士慕名而来，其中有不少女性向Ruby倾诉心中的性幻想。姊妹们得到Ruby的辅导和诱导，纷纷梦想成真，Ruby却得不到Alex的爱和性，最终毅然放弃，继续单身生活
别名：欲望是一把刀，2016年度最新韩国限制级电影
花季少女张辛儿（郭采洁 饰），十岁那年意外看到了父母被枪杀的凶案现场，内心受到极大创伤。这永远无法抹去的痛苦记忆伴随她的成长。受张辛儿监护人辅导员刘梅（刘雪华 饰） 所托，著名生物科学家董教授（果靖霖 饰）通过切割记忆的方法，帮她重塑记忆，切割痛苦。原本顺利的记忆切割实验，却接连不断的发生意外、失控，当真相不断浮出水面，张辛儿最终将如何面对这一切？
神经外科的两个副主任医师一个是“独行侠”，一个是“手术狂”，两人风格不同，但跟着谁日子都不会好过。“独行侠”范旬（外号：犯熊），神经外科第一快刀手，但为人冷漠，崇尚手术不是解决病情的唯一手段。“手术狂”岱一山（外号：山医生），海外归来，年纪轻轻就坐上神经外科副主任的位置，倡导科技必将代替人工，先进技术能解决所有病情。 与此同时，国家自然杰青基金指南发布，神经外科主任江满杰在会议室开会时推出一套评分系统，两个青年杰出外科医生在医术与仁心之间的较量展开了……
根据去年播出的「时间飞船24」世界观改编，以三恶人为主人公的时间飞船系列作品。三恶人是指本作中的坏蛋三人组，平常的掩饰身份为世界最大的教科书出版社“历史天国社”第14仓库课的成员，分别是毕玛乔（喜多村英梨）、兹夫亚基（平田广明）和铃木（三宅健太）。@www.7edy.com
胡维民带着妻子安美丽一起走进了明德大酒店他们准备去安美丽位于扬州的老家去继承安美丽父亲留下的一大笔遗产。但是路上汽车出了故障，抛锚在了距离扬州并不遥远的宁城里。夜深了，所以他们决定先行住下。但是第二天胡维民修车回来后发现妻子安美丽连其行李都不见踪影，一开始胡维民并没有在意，以为她一会就回来了，但是过了一天了，也没见妻子的踪影，于是他到楼下问服务员妻子的事情，打算报警，但是前台服务员告诉他从未见过他妻子来入住，这让胡维民很是惊讶，于是向巡捕房报案，伍士德通过一系列的调查取证，最终找出凶手、绳之以法！