An orphanage spirals into mayhem when a boy discovers a shadowy creature who comes to collect more than just the children's teeth.
源自迪士尼风靡全球的青春歌舞电影系列， 讲述一群来自不同背景、性格鲜明的年青人在校园发生的青春故事。一场即将举行的"超级校际演唱大赛"，唤起了同学们追求音乐梦想的愿望，不料在选拔过程中却掀起阵阵风波，最后各人在困难面前作出了突破自我的选择。
龙威（郑中基 饰）及好兄弟吴树喜（李灿森 饰）、黄金舟（张达明 饰）已成为警察2年了，但仍然沉迷游乐。他们几个来到了皇母瑶池村泡温泉，竟然破坏了飞虎队的围捕计划，原来是该村村民猫屎强偷走了镇村之宝的皇母娘娘像。为了平息民愤，警队决定把龙威几个派到该村当警长。村民们都觉得他们是瘟神，处处为难他们。龙威喜欢上了村中女孩小柔（杨爱瑾 饰），小柔父亲见龙威的骨骼精奇，便决定教会龙威咏春。龙威学有所成，打败了临村恶霸。因为龙威等人的善良，村民们也消除了对他们的成见。一年一度的皇母娘娘诞又来了，警方认为猫屎强会再次回到该村偷另一尊佛像，决定这次要将他绳之于法，但龙威却觉得猫屎强的到来是另有原因……
一个著名说唱歌手因部分丑闻而臭名昭著，他觉得自己的职业生涯结束了，然而在他的好友带他去参加了一场狂野的余兴派对之后，他重拾信心，准备化腐朽为神奇，创造不可能的奇迹....
《战火中青春之血染风采》：该剧讲述了八个女孩子组成的抗联女子突击队在那段特殊的岁月里与日寇斗智斗勇的故事。作为建党九十周年的献礼剧目，《战火中青春之血染的风采》场面更激烈、更宏大、更震撼，力求从场景、人物、枪械、重型武器等各方面真实的重现当年英雄们浴血奋斗的历史。
Marking its milestone second decade in production, series 11 and 12 will see cast regulars and new faces alike descend on Saint Marie, delving into a world of mysterious murders and perplexing puzzles that have gained Death In Paradise its reputation as a shining example of the crime drama genre.
Netflix拿下杰森·席格尔、莉莉·柯林斯、杰西·普莱蒙主演的惊悚片[意外之财](Windfall，暂译)全球发行权，据悉该笔交易金额高达8位数美元。影片由莉莉的未婚夫查理·麦克道威尔执导，麦克道威尔、席格尔创作了故事，贾斯汀·莱德([爱的就是你])、安德鲁·凯文·沃克([七宗罪])共同撰写剧本。该片是一部希区柯克式的惊悚片，讲述了一对年轻夫妇来到他们的度假屋，却发现那里已被洗劫。该片已于今年早些时候杀青。
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.
缪大同（佟大为饰）是一个爱情理想主义者。他在国外主修心理学，最擅长用现代心理科学来解释人的梦境。于1947年博士学成归来，回到四川嘉阳县， 踌躇满志准备做当地的第一个精神分析医生。为了搭救因革命活动锒铛入狱的未婚妻尹本，接受了一个姓狄的大法官（此人自称“嘉阳狄仁杰”）（王双宝饰）交给他的使命，即通过对女性梦的解析， 找到狄法官心目中的红颜知己，从而狄法官释放缪大同的未婚妻。在释梦过程中结实翁女士（郑秀文饰），一场荒诞不羁的性梦破解之旅即将展开。
《春满丹麦》是何藩执导，陈惠敏、潘冰嫦等主演的香港电影，该片于1973年出品。
秀才柳毅赴京应试，途经泾河畔，见一牧羊女悲啼，询知为洞庭龙女三娘，遣嫁泾河小龙，遭受虐待，乃仗义为三娘传送家书，入海会见洞庭龙王。叔钱塘君惊悉侄女被囚，赶奔泾河，杀死泾河小龙，救回龙女。三娘得救后，深感柳毅传书之义，请叔钱塘君作伐求配。柳毅为避施恩图报之嫌，拒婚而归。三娘矢志不渝，偕其父洞庭君化身渔家父女同柳家邻里相处，与柳毅感情日笃，遂以真情相告。柳毅难辞，遂订齐眉之约，结为伉俪。