二十年前，龙七爷赶尸时遇到了赶尸人最怕的事情——尸路无门；二十年后，随着一名无头尸的出现，镇子上开始出现了一系列诡异的事件，而这些离奇事件竟与二十年前龙七爷赶尸时遇邪有关……
七旬大爷老废年轻时在香港练功夫练成铁头无敌，如今老了铁头功却毫无用处，生活穷困窘迫。老废面对惨淡人生，发出了要再奋斗一次的誓言，在所有人都嘲笑他的时候，一个废柴老头、一门没用的武功在新的环境下，却碰撞出了前所未有的火花……他也大器晚成、飞黄腾达。只不过，生活也变得错综复杂，面对家庭、事业、感情的冲击，他该如何抉择？
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.
BuzzFeed News记者Kate Aurthur放出首张帕特里克·斯图尔特主演的《星际迷航：皮卡德》(StarTrek Picard，暂译)剧照。该剧将探索皮卡德人生的“下一篇章”，预计今年年底播出。
2023年4月1日是「哥哥」張國榮離世20周年，節目特別剪輯了哥哥在演藝路上的珍貴片段，以紀念這位一代巨星。糖妹聲音導航，引領觀眾重溫哥哥多首金曲，回味他過往於不同類型節目的演出，與汪明荃合演粵劇、夥拍梅艷芳的神級合唱，都成大家「永遠寵愛」的經典時刻。節目還會帶來樂壇與影壇猛人的訪問片段，細說哥哥參加歌唱比賽、躋身電影圈的成名經過。哥哥的獨特氣質與專業演出，以至一言一笑、舉手投足，至今仍令人難忘。
Jenny是一名年轻的普科医生。一天晚上，在诊所关门后，她听到敲门声却没有开门。第二天，她听说警察在距离诊所不远处，发现了一具身份不明的年轻女孩的尸体。
奥山圭辅（小栗旬 饰）表面看来是一位精明强干的律师，实际上却饱受童年时代悲惨经历的困扰，有着脆弱的神经和重度的强迫症。某日，奥山收到了一封神秘的来信，信中委托他为涉嫌抢劫杀人的名为安腾达也（高桥努 饰）的男子辩护，而这位安腾达也及其家人，正是一手造就奥山童年阴影的元凶。 曾经，达也是奥山唯一的和最信赖的朋友，然而，达也接近奥山的目的却并不单纯。达也一家人的设计令奥山失去了双亲，因此不得不寄宿在达也家，期间更是受尽了折磨和凌辱。如今，当年逃过法网恢恢的达也再度面临指控，他找到奥山，又有着怎样的阴谋呢？
8月29日 22-23赛季意甲第3轮 维罗纳VS亚特兰大
工作干练但不擅长家务的单身女子相原芽衣在生日夜晚，突然遇到身披围裙的大叔鴫野渚（大森南朋 饰），殊不知大叔是个家务全能的超级家政夫。芽衣起初有些抵触，却在相处中慢慢依赖上了家政夫。
讲述警方在曼彻斯特 进行严密的监视调查行动，而剧情会探讨观察他人时是否存在真正的「客观」以及影响。Martin King总警司在单亲母亲家里设立监视点，因为这里可以清楚观察到韦斯特伯里广场及失踪小学教师的家。教师踪前与男友同住，而他亦是主要嫌疑犯。
1950年，咏春派一代宗师叶问（黄秋生 饰）与妻子张永成（袁咏仪 饰）带同儿子叶准到澳门生活，继而到香港谋生。一次较量，梁双（洪天明 饰）甘拜下风，并拜叶问为师。其后，叶问先后收了李琼（蒋路霞 饰）、陈四妹（钟欣桐 饰）、邓声（陈小春 饰）、汪东（周定宇 饰）、吴赞等人为徒。但最瞩目是与红颜知己珍妮（周楚楚 饰）一段鲜为人知的事迹。 汪东与吴赞好斗，四处与其他门派“讲手”，经常需要叶问调解。某夜，工友们与梁双在天台开会起冲突，叶问出手制伏众人。另一方面，邓声沉迷名利，与贪污警员同流合污。叶问向邓声晓以大义，邓声终暗中协助因引发警民冲突而被捕的李琼获释。 1959年，九龙城寨由江湖中人地头龙（熊欣欣 饰）统领，经营不良勾当。邓声答应暗助魏霸天（卢伟光 饰）的狮队胜出，好让地头龙操控比赛结果。比赛当天，魏霸天偷袭吴忠（曾志伟 饰），叶问出手救助吴忠，击败...
Gong（Num Sornram饰）与Ann（KobSuvanant饰）是一对不那么典型的夫妻，他们因戏生情，从人人都要说声般配的荧幕情侣步入现实，结婚生子。然而生活不是电视剧，两人的婚姻生活并没有荧幕上看起来那么美。 Gong总是饰演武将和保镖这类角色，荧幕形象坚定果敢，富有男子气概。可是在生活中，他软弱、胆小、斤斤计较。Ann在爱情片里多演温柔善感、事事完美的公主，本人却强势干练、独裁专制。荧幕上武将爱上了公主，爱得假戏真做，让小男人与大女人步入了围城。在婚姻这面真实的镜子下，两人才终于看清了对方，愕然发现彼此并非良人。 Gong向往平凡生活，做做家务、照顾孩子。Ann却是“女皇”，不想照顾孩子，主持家中事务。方方面面不对盘的两个人对这段婚姻大失所望，都想着离婚了事。孰料别人家里有婆婆管东管西，官配后头跟着一大票粉丝操心。闻听风声的粉丝们反对的声...