Whenacarcareensoutofcontroloveranembankment,killingamiddle-agedmaninthedriver’sseat,Meganlearnsthatallisnotwellonaprettysuburbancul-de-sac.Lookingpasttheperfectpicketfences,sheandherteamarestartledbythelivesspinningoutofcontrolandtheever-changingsuspectroster.
《全球风暴》的故事发生在未来，环境恶化导致自然灾害愈演愈烈，因此世界各国通力合作，创造了能控制天气的强大气象卫星网络。但是卫星网络突发故障开始攻击地球，摧毁一切的气象大灾变席卷世界。而随着事态发展，浩劫背后的阴谋人祸也开始浮出水面，令主人公的救世之旅面临更严峻考验。
本作的舞台是私立学院学员高等部，主人公是对谜题十分着迷并自信逢谜必破的高一学生大门。有一天，他受到学生会长邀请，同青梅竹马少女野叶一起前往学校附近的遗迹解“不能解开之谜”，原来这是一个由神秘智能集团制造出的能危机人类生命的“贤者之谜”。可是热爱解谜的大门硬要作出挑战，在得到某件“物件”之后，大门即被点名成为所谓的“解答者”。从此，他就与野叶和其他充满个性的解答者一起挑战潜藏于世界各地的“贤者之谜”。
昔日赛车手梁晖（周游 饰）在目睹好友周晓杰（段博文 饰）意外死亡后一蹶不振，重新做回货车司机，却在一场车祸中意外发现好友遗物里的秘密，难道他还活着？
灵州九国由天子掌管，已历千余年。灵州地脉善生玄气，被天下方士视为修行法源，并衍生出玄术法门。八大诸侯则各领一方国士，拱卫天子。此时帝霈为第八代天子，依照天权统御九国，手中藏有上古神明传下的玄机法卷。
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.
这是一部德国经典的色情故事影片，话说六位瑞典女人来到瑞士，她们要来继承父亲的遗产，但由于遗嘱文件还没有送到，于是她们准备去阿尔卑斯山旅行，在山上她们碰到了汉斯，还有村子里的其他男人，一次放纵情欲之旅由此拉开帷幕......
现年18岁的凯登·理查德（卢卡斯·提尔 Lucas Till 饰）原本是一个普通高中生，他在校橄榄球队担任主力，学习优秀，还有一个校花女友，曾经的他如同生活在梦中的人生赢家。直到某天一切发生改变，凯登学习下滑，还对冲撞了他的球队对手大打出手。此后处于混乱状态的他咬伤女友，更在失去意识的状态下杀害了父母双亲。凯登终于发现自己拥有了变身狼人的能力，为了躲避警方的追捕，没有勇气自杀的他只能夺路逃亡。几经周折，他终于来到一座云集着狼人的小镇，并在老者约翰（史蒂芬·麦克哈蒂 Stephen McHattie 饰）的帮助下找到一份谋生的职业。 恐怖的狼人康纳（杰森·莫玛 Jason Momoa 饰）只手遮天，卡登无意中的到来，打破了狼人和人类之间岌岌可危的平衡……
一部类似电影《第九区》（District 9）的外星人题材科幻剧（其实更像《E星恋》），故事创意来自一位西班牙制片人。数百名人形外星人困在地球上，为了防止出现意外，人类决定建立外星人定居点对他们进行集中看管（事实上是种族隔离、集中营）。10年之后，人类决定启动一项特殊的「高中教育项目」，尝试让9名外星少男少女去一所人类的郊区中学读书，看他们是否能融入人类社会。毫无疑问，双方的偏见和生物固有的「竞争意识」让整个计划变得更加复杂，而人类女孩Emery（Aimee Teegarden）和外星男孩Roman（Matt Lante）的恋情可能成为影响人类和外星人和平共存的关键——他们要么成为救世主，要么成为毁掉两个物种的罪人。
Four teenage friends, on the French-Swiss border, whose lives are turned upside down by an experiment of the LHC, the world's biggest particle collider.
“PINE RECORDS”（通称：PIRECO）所属的千岁春、熊谷绘里、龙王更纱、迎桐、迎羽织、箕作沙沙芽、西尾未来、雪野日阳、具志坚修普、金时琴子、诸冈露露11人，是名为“音乐少女”的偶像组合的成员。 但“音乐少女”却是完全火不起来的C级偶像。 不鸣不飞&赤字累累的“音乐少女”，制作人池桥和成员们却仍然在拼命努力着。 池桥认为“音乐少女”需要新的成员。像是抓住成功的引爆剂那样的偶像！于是，他为了选拔而日夜操劳。 这样的某一天，“音乐少女”与主人公·花子相遇了……