在众人眼里，年轻力壮处事低调的维克多（柯林·法瑞尔 Colin Farrell 饰）在黑道的前途无量，可对于维克多本人来说，他如此努力，如此隐忍，只为了一个目的，那就是接近黑帮老大埃尔夫斯（泰伦斯·霍华德 Terrence Dashon Howard 饰），手刃仇人，报仇雪恨。 除了维克多外，还有一个女人对埃尔夫斯恨之入骨，她的名字叫碧翠丝（劳米·拉佩斯 Noomi Rapace 饰），很早之前，敏感的维克多就注意到了这个漂亮的蛇蝎美人，一番思量之后，他决定同碧翠丝联手，共同完成他们的复仇。就这样，维克多和碧翠丝成为了盟友，可是即便如此，强大的黑暗势力对于他们来说依然是几乎不可战胜的对手，要想取得最终的胜利，除了仇恨外，他们还需要另外一种情感。
意大利西部片宗师瑟吉欧·莱昂的传世经典之作，继与克林伊斯威特合作「镖客三系列」之后，瑟吉欧·莱昂这部近三个小时的长篇钜作，被称之为影史上最伟大的西部片。 故事叙述一名神秘客（查理士布朗逊）来到小镇上，被卷入一名寡妇（克劳蒂雅卡迪奈尔）与铁路大亨的土地抢夺战，此片最有趣的角色，是由一向形象正义的亨利方达，难得在此片中扮演一名冷面的残酷杀手，从头到尾几乎没有表情，只
记总督察李铁柱，接手调查一单有关警员与黑社会勾结的案件、目标人物是重案组探长黄振雄与他手下的一班探员。雄由于得到黑社会之助而破不少案件，但亦收受黑社会之利益而有违法纪，李铁柱欲搜集雄等人之罪证，但由于雄亦是干练之警务人员，擅于隐藏罪证来逃避法律的制裁，所以李一时间不能将雄绳之于法。其后有新加入队长名昌加入雄的行列、昌是一个正直的警务人员，雄欲收买间失败，而李亦乘机利用昌来搜集雄之罪证据来拘捕雄，而雄就是畏罪自杀。
黄力因有事外出家中只剩下妻子和佣人毛毛，在一次偶然的机会，黄力接到老婆的来信，信中说自己已有身孕，其妻暗自高兴，猜想丈夫阿力一定会很高兴，然而恰恰相反，丈夫接到信后顿时火冒三丈，连夜赶回家捉奸，没想到居然多了一个女人，自称是黄力的爱人，也有了黄力的骨肉，黄力在想一举两得办法中，结果被两个老婆给遗弃了……
Mark Strong饰演的舰长William被派往火星执行一项单程任务，四千万英里，270天的孤独航程，迈出人类殖民火星第一步……
影片讲述了民国时期，川剧道具师陆墨山因在剧组替副导演背黑锅而入狱，出狱后乔装改扮，化名“孟上海”来到女儿的学校当道具师，原本只想默默的守护女儿，不曾想，女儿被学校里的其他几名学生联手害死，并且诬陷是陆墨山做的，再次出狱的陆墨山，恢复了“陆墨山”这个身份再次来到女儿曾经的 学校，对凶手们展开了报复。
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.
本片荣获最佳影片、最佳导演、最佳女主角、最佳造型化妆奖等各项荣誉。
在很久很久以前，世界上有三大种族——“天族”“魔族”“人族”。天族与魔族都以摄取人类的情绪而存活。天族需要的是人类产生的正面情绪，而魔族需要摄取的是人类的负面情绪。天族为引导人族追寻善念而奋斗，魔族则一直引导人族走向邪恶与贪婪。两族都在为争取自己所需的人族情绪而努力。从古至今，善与恶的争斗从未停止……本片的男主人公银勺，因师父邵四爷误会而被逐出师门。而他的师兄金勺，得知西餐比较高档，叛离师门，离开了邵四爷独自去西餐厅学习。金勺的欲望和邪念被魔族利用，准备召开食神大赛，实施阴谋。在各方的比拼中，银勺最终获胜，粉碎了魔族的诡计。人族最终用美食找回属于自己的正能量。
1973年的第四次中东战争中，一架携带着核武器的以色列战机在叙利亚被击毁，核弹随之便被时间和风沙掩埋。然而29年后，核弹却被一对平民夫妇掘起，并廉价变卖给军火商，最后兜售给了恐怖分子，而这些恐怖分子正在策划一场在美国繁华集会地点的核爆，并将其嫁祸给俄罗斯，意在挑起新一轮世界大战。年轻警觉的CIA情报分析师杰克·瑞恩（本·阿弗莱克BenAffleck饰）在与俄罗斯新任总统会面时，隐约感到事有蹊跷，并通过眼线很快洞察了恐怖分子的惊天阴谋。然而瑞恩的判断却未能得到局里的重视，在一筹莫展之际，他得到了资深睿智的老分析顾问威廉·卡伯特（摩根·弗里曼MorganFreeman饰）的信任与合作，然而仅凭他们二人之力，能否赶在恐怖分子下手前找到核弹，阻止这一毁灭性的悲剧发生呢？\r本片改编自美国军事作家汤姆·克兰西的同名小说。
这是一个发生在澳大利亚西部城市柏斯的当代故事。安东尼是一个年轻的意大利/澳大利亚拳击手，他在西西里的父亲兼教练，乔，把他推向了极限。乔希望安东尼实现他年轻时的成功理想。当安东尼遇到了凯特之后，他开始看到了暴力之外的生活。他逐渐失去对拳击的热情，在与父亲的对抗中，他了解到父亲痛苦的往事。安东尼与凯特的浪漫时光让他远离了拳击理想，他去夜总会做保镖谋生。经过一系列波折之后，安东尼重新选择了为父亲和荣誉而战。