在外人看来，苏雨宁几乎拥有完美的生活：蒸蒸日上的事业，温柔的老公和乖巧的女儿。不料，这美好的生活在一夜之间分崩离析。先是老公出轨，随后是女儿受伤昏迷。苏雨宁这才发现自己早已身处一个处心积虑的阴谋之中。而阴谋中心所盘踞着的，竟是她万万没有想到的那个人。为了保护女儿，苏雨宁不得不站出来，向“她”宣战。
“终极武器”被网友戏称为印度版的刺客信条，讲述了一个普通的印度送奶工本打算为妹妹到金奈置办嫁妆，机缘巧合他成为拯救城市的人民英雄而他自己却浑然不知。后得知真相后他本想回家过自己平静的生活，但是天不遂人愿，恶势力的横行，贫苦人民的水深火热让他不得不披上战袍为正义而战。最终将暴徒，恐怖分子 腐败官员一一铲平。本片动作场面火爆，很有中国功夫片的派头，又不缺少印度片所特有的歌舞场景，其中的喜剧部分的设置也下了不少功夫。总之，算是一部不错的印度电影。
当两个不和的邻居之一被诊断为晚期癌症时，他们之间不可能的兄弟情谊就变成了意想不到的友情。突然面对的死亡，两兄弟（他们玩了一个叫Paddleton的游戏，赢的一方可以提出一个要求）决定去旅行。然而，随着他们的经历揭示出友谊的真正纽带——以及那意味着两个男人之间使用幽默来避免表达任何真实的情感，他们的文字旅程变成了一个隐喻性的旅程。 导演亚历克斯·雷曼用一个有趣的、鼓舞人心的故事逗你开心，同时提出了一个问题触动你的心：爱在行动中是什么样子的？雷·罗曼诺(Ray Romano)是一个永远的悲观主义者，他努力为他的病友寻找希望的时刻。马克·杜普拉斯(Mark Duplass)是令人心碎的，他向命运投降，却又想享受离开的每一刻。雷曼在旅行类电影中巧妙地运用了情感的深度，这证明了这部电影的力量和其核心的友谊。
水野美波的人气少女漫画《虹色时光》(虹色days)真人化，佐野玲於、中川大志、高杉真宙、横浜流星主演。漫画描绘了没有参加任何社团的四位男高中生的友情、恋爱生活。影片由饭塚健([荒川爆笑团 ])导演，预计2018年夏日本上映。
影片主要讲述了史玉利用西风郡与陈静农的矛盾挑起事端，西风郡派人将违反门规的静农抓住并得到隐藏奸臣罪证的明王刀，沈氏兄弟出手救人夺刀却遭到史玉追杀。沈氏兄弟挫败白莲帮派、史玉等阴谋，铲除邪派就出陈静农夺回明王刀的故事。
《小城大爱》是一部数字电影，由镇江市广电总台、江苏大学和北京银河星光文化传播公司共同出资拍摄，二十一世纪校园数字电影院线协助发行。扮演陈静的演员名叫王振，最新出演过《蓝孔雀》的女一号。出演男一号的名叫崔林，曾在《十七岁的单车》出演男一号，丁玉兰的扮演者名叫叶青。导演是曾获过奥斯卡最佳纪录片奖的曲江涛。
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.
11月25日 2022世界杯小组赛G组第1轮 巴西VS塞尔维亚
彼得帕克（汤姆·赫兰德 Tom Holland 饰）在内战后受到了钢铁侠托尼斯塔克（小罗伯特·唐尼 Robert Downey Jr. 饰）的赏识，表面上，彼得进入托尼的公司成为了一名实习生，实际上，他和复仇者联盟的成员们一起接受了各种各样的训练。托尼虽然欣赏彼得的勇敢和正直，却并不认为他目前已经拥有加入复联的实力，他派出了特工哈皮（乔恩·费儒 Jon Favreau 饰）暗中观察，这让十分想证明自己的彼得感到万分焦躁。
在俄政府服役多年，且在战场上有过优异表现的原犯罪侦查官菲力普，因误杀无辜而入狱，数年后其出狱了，开始过着幸福而宁静的生活，并未持续多久，便被无情地打破了，昔日的上级力邀他重出江湖，希望能凭借他多年的狙击及侦查经验，协力阻止一宗惊天阴谋。菲力普再度上阵，却发现自己已堕入精心布局的陷阱，步入了可怕的黑手党世界，无辜成为了警方的大最大嫌疑犯，遭到全国追捕，并被视为“最危险人物”。为脱险、为脱罪，无奈的他开始掉转了枪头反击，可怕的连场枪火激战爆发了……
周恩来的童年时代，中国内忧外患，为了挽救国家危亡，周恩来开始了对中国道路的艰辛探索。本片讲述了周恩来从小独立自强、勤奋好学，童年时就立下“为中华之崛起而读书”的雄心壮志。周恩来的成长历程以及优秀品德的养成，希望对于青少年的人格培养起到亲切且深远的启迪作用。
D.I.E.被迫解散，原组员都重返原先的工作岗位，这班人不改之前古灵精怪的作风，另领导很是头疼，为了躲开这批难缠的下属，子朗（郭晋安 饰）顶头上司罗有恒（郭峰 饰）主动提出重组D.I.E. 但由于D.I.E.原主管费SIR已退休，罗有恒被迫接管。晶晶（郭羡妮 饰）在结束产假后也迅速回到了D.I.E.。子朗和晶晶无处安置孩子，只得带着他上警局，一连串扣人心弦的案件接连上演。另一头，正义（郭政鸿 饰）和子晴（曾华倩 饰）则恋情告急。众人还渐渐发现，子朗的孩子竟也遗传其父的异能，晶晶也因此屡屡破案。谁知竟然再次惹祸上身，子朗、晶晶一家三口是否能顺利脱险？正义和子晴是否真的缘尽？