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在阿富汗执行任务的美国空军飞行员科特史蒂文斯上尉（杰克·吉伦哈尔 Jake Gyllenhaal 饰）突然惊醒，发现自己在一辆高速行驶的列车上，而他的身边坐着一个素不相识的女子克里斯蒂安（米歇尔·莫娜汉 Michelle Monaghan 饰）正在与自己讲话。科尔不知自己为什么会在这辆车上，而且他发现自己居然是以另一个人的身份存在，正当他迷惑不解的时候，列车上忽然发生爆炸……                                                                    　　科特又一次惊醒，发现自己身处一个密闭的太空仓里，有一位女军官古德温（维拉·法米加 Vera Farmiga 饰）正在通过视频和自己对话，并要求自己报告列车上发生的事情。一头雾水的科特还没搞明白是怎么回事时，他又一次被送上那辆列车。这次之后，科特终于明白自己在执行一件任务，负责调察芝加哥火车爆炸案找到恐怖份子并查出他的下一个目标。科特被一次又一次的送上那辆高速列车，每次只有八分钟的时间调察，调察过程中，科特发现自己已在一周前去世，原来他正在参与是一项“脑波原代码”的秘密任务，这项任务通过已经死亡的科特尚未完全死亡的脑细胞影像来还原事件，调查事情的真相。最终，科特顺利完成了任务，但是他却决定再一次返回列车，拯救列车上那些无辜的生命……

花千谷之花魂之路

一场天灾浩劫，紫魔兰在人类居住的山谷肆意滋长，它能够使人沉沦直至失去生命，只有花千谷由于花神树的镇守而幸免于难。但神兽凤凰从山谷外带来的紫魔兰毒浸染的婴儿打破了花千古的平静。花千谷的国王和王后违背了花千谷不让外人进入的祖训收留了这个婴儿，取名牡丹公主，抚养她茁壮成长。花神树突然凋谢，牡丹公主一病不起，让花千谷上下疑窦众生，纷纷向国王请愿送走牡丹公主。王后无法割舍母女之情，向花神树寻求帮助，自愿舍身去黑色结界历劫，让花魂回来，但由于紫魔兰强大的力量，王后被困一去不回。十年后，牡丹长大，紫魔兰卷土重来,花

虎胆俏佳人

　　白江东是黑道中的中阿哥，他有个女儿叫安妮，她在江湖上也是出了名的红粉杀手。这一天，白江东带领两个结拜兄弟陈威和小龙来到龙虎滩，和另一派的大阿哥许大求进行毒品交易，事成后许大来拿着毒品带领一班手下离去，白江东手提钱箱朝自己的私家车走来，就在这个时候，陈威和小龙突然拔出手枪将白江东射杀，抢了他的钱箱然后驾车离去。陈威和丁小龙回去向安妮报告，说大哥白江东被许大来杀害，安妮听到这个消息，如巨雷轰顶，誓要替父报分仇……

魔游纪1：盘古之心

以冒险探索为基础，结合黑暗、魔幻的视觉风格展现出一个与众不同的世界观。故事讲述了中土末年，乱世初现，纷争不断。小和尚江流儿机缘巧合吞下至宝盘古之心。不得已与天诛焱、颲、偃流沙三名赏金异人踏上了取丹之旅。

阿福寻宝记

1950年代，某城市。阿福（李守成 饰）的父亲张启新（齐衡 饰）是某厂的供应科长，这天，他带回家一只苏联生产的石油钢钻样品，不料被阿福卖给旧废品的老头（李保罗 饰），用卖得的钱买了同学永祥（田峰 饰）的一架降落伞。张启新不见了钢钻样品追问儿子，因为厂里急等着用，得知儿子把它当废品卖掉张启新急得直跺脚。阿福自知闯下大祸，赶忙带父亲和妹妹寻找收废品的老人。几经周折，打听到收来的废品已交给了回收站，待赶到回收站人家已把金属货部分送到很远的钢厂去了。阿福决定连夜去钢厂追宝，双喜（朱淮宁 饰）和张启新陪他马不停蹄地赶往钢厂。半夜时分，气喘吁吁的三人终于赶到目的地，阿福能找到丢失的宝贝吗......©豆瓣

假装不正经

陈老汉接孙女放学,路上看到公示栏上禁止燃放烟花爆竹的通知后，唉声叹气，他已经好几年没有公开表演过药发木偶了……陈老汉在家里摆弄药发木偶时，孙女静静看到一个铁罐很好奇便打开来玩耍，却不小心引起火苗，铁罐爆炸了……爆炸中，陈老汉和孙女静静身体互换。如今外表沧桑的陈老汉内藏一颗少女心，而风华正茂的陈静静内心却是抠脚老汉……一连串连锁反应发生，一段啼笑皆非的故事正式在这个宁静的乡村上演。

舒马赫

一部关于传奇F1车神迈克尔·舒马赫的纪录片《舒马赫》将推出。该片已在后期制作中，据称获得了舒马赫家人的全力支持，将有此前从未曝光的视频和资料、与其家人的采访、亲近的赛车伙伴和对手的采访等。德国导演MichaelWech(《ResistanceFighters》)和Hanns-BrunoKammertöns执导，RocketScience公司执行制片和做国际发行，DCM做德语区发行，将在#戛纳电影节#卖片。如今，距离舒马赫拿到第一个世界冠军已25年，他被认为是F1成就最卓著的车手之一，唯一一个拿到7次F1世界冠军的人，跟红色的法拉利合作让许多车迷印象深刻。2012年退役后，舒马赫在2013年滑雪受伤，脑补受到损害，一度昏迷不醒，苏醒后到如今仍在接受治疗。

欧洲的某个地方

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.

中华英雄

1913年，钱无义（徐锦江饰）带了洋人来夺家传之宝，华家人惨遭灭门。华英雄（郑伊健饰）在怒火中杀光洋人。他忍痛与妻子洁瑜（杨恭如饰）暂别，远避美国当苦工谋生，却承受着种族歧视的不公待遇，华英雄反抗出走。

中国传承足球明星联赛 上海老甲A明星足球队1.0辽宁足球明星队 20231109（现场解说）

22-23赛季NBA季前赛 尼克斯VS步行者

10月13日 22-23赛季NBA季前赛 尼克斯VS步行者

爱我别走

青年干探阿宝(马浚伟)和自己的拍档泉叔一起保护证人，阿宝因帮女友JoJo(叶安婷)买礼物而暂时离开，此时杀手Ace(吴启华)出现，将他们保护的证人当场击毙，并将泉叔打死，阿宝虽赶到但还是让Ace脱身，他觉得泉叔的死全因自己疏忽造成，于是自责不已，并发誓要替泉叔报仇。阿宝在整理泉叔的遗物时发现了一包毒品，那是一起贩毒案的失踪物证，阿宝立刻向上司王警官汇报，并要求以此为线索查出真相，不料王警官竟将阿宝调离专案小组，阿宝不满上司做法，于是偷偷展开调查。但冲动的他落入陷阱，被控参与贩毒入狱。同为警察的JoJo碰巧发现王警官才是幕后主使，于是毅然将阿宝救出，两人逃往南丫岛。在岛上的一间酒吧，阿宝又发现Ace与酒吧女主人阿枫(张可颐)的合影，原来阿枫是Ace的旧情人，Ace当年因意外不辞而别，而Ace的朋友Rock(黄秋生)痴恋阿枫，一直守候在她身边。阿宝向阿枫和Rock追查Ace的下落，但阿枫和Rock均缄口不言。阿宝和JoJo决定在此地住下，等候Ace的归来。一连串的意外事故让阿枫感受到了Rock的痴情，但就当她准备接受Rock时，Ace返回并想与阿枫重燃旧情，三人在酒吧中相逢，阿宝和 JoJo也闻讯赶到，要将Ace绳之以法。就在五人正在僵持时，王警官率领大批杀手来到，要将他们全部灭口，五个不同的人被迫走到了一起，与王警官展开最后决战……