韩国最大规模贩毒组织的神秘BOSS李先生气焰嚣张，他新近通过一起爆炸案除掉了无用的干部，甚至连侥幸逃生的骨干也被害死在警局之中。缉毒组组长赵元浩（赵震雄 饰）从爆炸案现场救出在组织内担任联络工作的徐永乐（柳俊烈 饰），经过审讯得知，徐原本负责与盘踞在国外的毒枭霖（金柱赫 饰）接洽，因提前回国而误卷入组织清洗之中。赵组长将计就计，决定周旋在李先生和霖中间上演双簧，以将贩毒组织连根拔起。这一过程险象环生，危机不断，而真正的李先生却还未显现出他真实的用心……
莉比（查理兹·塞隆 Charlize Theron 饰）有着一段不堪回首的悲惨童年，她的母亲和两个姐姐惨遭变态杀人狂的毒手，惨死在血泊之中，莉比幸运的逃过了一劫，之后，她立于公堂之上，指认了哥哥本（寇瑞·斯托尔 Corey Stoll 饰）就是罪魁祸首，本因此被关进了监狱。 这一惨案在社会上引起了强烈的反响，人们纷纷写信捐款给莉比这个可怜的姑娘，靠着这些善款，莉比长大成人，然而，过去的阴影使她变成了一个整日里无所事事自暴自弃的女人。随着时间的推移，莉比正在被逐渐淡忘，她收到的捐款越来越少，生活状况亦越来越糟，就在此时，一位名叫莱尔（尼古拉斯·霍尔特 Nicholas Hoult 饰）的青年找到了她，不惜花重金将莉比请到了“杀手俱乐部”，在俱乐部怪咖们和莱尔的怂恿之下，莉比开始回顾这宗她一直以来都在逃避的案件，一些疑点渐渐浮出了水面。
内详
布列塔尼·福格勒是一个有趣的，可爱的，27岁的纽约人，紧迫的生活让她过得乱七八糟的，其肮脏的夜总会冒险和清晨羞耻的散步使她每天上班迟到。但是当她停在一个叫“推荐医生办公室”的地方，试图给她加药时，布里塔尼得到了一系列的诊断结果，而不是心率升高、血压升高……一长串的疾病。突然，布列塔尼被迫握紧，系上她的匡威运动鞋，跑了一个汗块。第二天，她跑了两次。很快她就跑了一英里。布列塔尼终于有了方向，但她走对了吗？ 获奖剧作家保罗·唐斯·科拉伊佐以这部明亮、活泼的喜剧首次执导了他的导演生涯，而吉利安·贝尔则以一个不可抗拒的演员阵容为布列塔尼的故事注入了内心和灵魂。布列塔尼经营一场马拉松是一部既有趣又鼓舞人心的电影，讲述一个以派对生活闻名的女人如何通过控制自己找到真正的朋友和真实的生活，跑过一次一个街区。
1942年，日寇向太行山根据地进行疯狂的报复性扫荡，矛头直指八路军129师驻地。部队忙于抗战日寇，为便于机动应对来犯之敌，把部队首长几个年幼的孩子交给由当地百姓家抚养。129师后勤处的生活干事刘天喜把其中的两个孩子（军生和小妹）带给自己的妻子姜贵芳抚养。而这时的妻子正带着自己的一个三岁的女儿。在日寇频繁的扫荡中，刘天喜和妻子艰难地和敌人周旋，多次化险为夷。
北国风寒，大雪飘飘。吉庆市正在积极筹备国际雾凇节。但来吉庆市洽谈投资项目的外商却丢失了所有的重要文件。这一重大案件不仅关系到吉庆市的国际声誉，关系到雾凇节的顺利进行，同时也直接影响到吉庆能否吸引这笔几千万美元的投资。窃贼竟然胆大妄为地用匿名信挑衅“哑探”梁光明…
市文物局局长卢飞的意外死亡在市里引起不小的轰动.案情发生后,刑警队长德健率助手邓梅,叶龙介入此案的调查.由于卢飞生前官居高位,且身负盗取国宝"僧王刀"和其它经济犯罪的重大嫌疑,所以他的死也引起市委领导的高度重视,并限期侦破.一次偶然的机会,德健以前的战友沈奇得到了一把"僧王刀".原来,德健和沈奇曾同在缉私队工作,在一次解救人质萧萧时,因为沈奇的失误致使萧萧的哥哥,缉私队队长萧军光荣牺....
1999年2月，杀人鬼回来了！ 1995年在日本发生的连续猎奇杀人事件，因嫌疑人遇到车祸住院而草草结案。如今疯狂的犯罪再次出现，恐怖的气氛来袭，原嫌疑人的嫌疑被洗清，到底谁才是这一系列事件的凶手？ 解决都市不可思议事件的伽蓝堂的成员开始展开调查，两仪式准备以自己的匕首结束这一切。但决战之前，黑桐干也发现犯人居然是自己旧日所识！ 在友情与正义相混淆的世界中，干也到底要如何抉择？
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.
wenika是女孩工作和生活在唐人街的妓院。
亚男为了一家人的生活，在酒吧工作来维持兄弟姐妹的学业。珊珊是一个专靠小摸小骗过日子的人，和亚男住在一起。娃娃是一个懂事的学生，父亲对她的学业看管较严，而母亲总会站在娃娃一边替她好话。思佳的母亲早逝，一直和父亲在一起，她一直相信在父亲的心里，母亲的位置是难以被别人所取代。在一个风雨交加的晚上，参加完朋友的聚会回家后却看到了一个自己不想看到的情景，原来父亲在三年前就另外有了别的女人，这让思佳气氛不已，决定离家出走。出走后便来到亚男的家里住宿。娃娃受到男友的欺骗后怀孕，怀孕之后男友便从此消失，无奈的娃娃只好找到亚男帮忙，几人带着娃娃来到医院决定做掉孩子，娃娃却因大出血而死。这让亚男几天伤心不已，亚男决定要为娃娃报仇.....
4月21日 21-22赛季法甲第33轮 布雷斯特VS里昂