延宇是曾经製作过脍炙人口作品的导演，但自此之后，他便没再交出漂亮的成绩单，这也让他的职涯遇到极大的瓶颈。某个机缘下，延宇前往拜访一位当红的网路小说家，希望能改编他的畅销作品，而没想到这位作者正是失联多年的宇载！过往的恩怨使两人分道扬镳，如今再次重逢，他们会顺利化解误会，成为彼此的美好结局吗？
按摩师矢吹原丈以按摩来破案。他按到的不仅仅是人体的穴位，更是各个案件的“要穴”......
简 介 青年干探铁男（古巨基）在一次放蛇行动中认识了私钟妹Fanny（杨采妮），Fanny常对人说她有一杀手男朋友会来带她走。Fanny利用铁男过骨，铁男喜欢Fanny，甘愿被她利用，传说中的杀手（巫奇）回来了，他杀死了黑社会集团大佬并带Fanny离开，被黑社会包围，铁男谨慎地布署，应付危机。 幕后制作 英雄动作片的类型，细节丰富生动，人物充满趣味。人物性格出人意料，从铁男的成长故事中，引出恋情、友情、父亲情结，以及个人职业成长与勇气培养的话题。全片从男主角的主观角度出发，反映了男主角主观世界的一厢情愿。梁柏坚曾经与吴宇森长期合作，1995年起摆脱吴宇森的影子另起炉灶。梁柏坚开始独立执导影片起，便与在著名编剧陈庆嘉合作。《热血最强》在1998的香港电影评论学会奖上受到好评，陈庆嘉因此获得了第四届香港电影评论学会奖最佳编剧称号，该片也同时获得了第四届香港电影评论学会奖推荐电影奖。
一个对北京充满向往的女孩通过高考实现自己的城市梦，却因城市生活压力大，只身在外的孤单等原因，不得不选择一个生活压力小多城市生活。
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.
本片讲述了三个失意的女人：不愿意被客户潜规则而愤然辞掉工作的美丽御姐盛绮珊、一个月被炒五次鱿鱼的职场小白夏思佳、因为使用飞机稿事件而身败名裂的广告界大神薛云，三人在酒吧偶然相遇，因盛绮珊出手解围薛云，而坐在一起畅谈，并临时起意一起开一家广告公司，就这样走上了创业之路。然而这一路并没有想象中顺畅，第一个客户因为夏思佳的懦弱自卑惹怒客户被百般刁难，难得的一次机会可以和薛云的老合作搭档欧凯丽的大公司合作，正在签合同的时候，没想到创意被盛绮珊男朋友周慕文泄露，直接导致合作失败，三人的公司名誉扫地，陷入危机……
劳拉在她的海滨别墅里待了几天，监督烧烤棚的建造。 一天下午，她引诱了永远不会回来的首席建筑商。 在接下来的几天里，建筑工人不断入侵她的家——直到劳拉变得凶猛。
少女出嫁夫必逝，一月克死三夫之事传的是大街小巷，失望的苏小慈回到家，却迎来了御赐良缘，欢喜的嫁过去，岂知嫁给了沉睡多年的王爷，经过各种作死成功的迎来王爷的苏醒
A precocious kid and a police officer join forces to catch a criminal at large
青年作家宋昭因急需买房结婚，来到太平湖畔山水驿站，引起了一系列的卖房事件。女主角张子一身为山水驿站老板为了保住自己的小旅馆与宋昭之间发生的了种种故事，最后，两人在山水之间找到了自己的真爱。
『ゴールデン道画劇場』（ゴールデンどうがげきじょう）はYoutubeで毎週月曜23:30に期間限定で配信されたショートアニメ[91]。監督は森井ケンシロウ、アニメーション制作はDMM.futureworks/ダブトゥーンスタジオ、音響制作はマジックカプセル[92]が担当。 テレビアニメ本編ではカットされた原作のギャグやパロディ、おまけ等のショートエピソードをショートアニメ化したもので、内容は全て原作準拠。公式サイトの解説によると「本誌連載時の扉絵やコミックスのおまけを中心にお送りするショートアニメ」。なおタイトルの『ゴールデン道画劇場』はアニメオリジナルだが、こちらもタイトルロゴを含め『ゴールデン洋画劇場』のパロディとなっている。 テレビアニメ本編のBD / DVD各巻に映像特典として収録。BD / DVD特典限定の新作も収録される。
幕府时代末期，外忧内患，山河动荡，百姓生活困苦，且生命时刻受到威胁。少年心太因其善良纯洁之心感动飞天御剑流高手比古清十郎，被其收入门下学习剑法，更名剑心。 在国家危难之际，年轻的剑心怀揣改变时代的梦想下山，加入奇兵队，日后更被桂小五郎纳入麾下，以刽子手的身份为时代的变革尽一份绵薄之力。年仅15岁的剑心接连刺杀多名政府要员，令对手闻风丧胆，直到某一天，一名下级武士在他的脸上留下一道无法愈合的伤疤。 来至京都寻找爱人的雪代巴邂逅了剑心，正是眼前这名瘦弱的男子将爱人从她的生命中带走。巴走入剑心的生活，随之经历了政治斗争的血雨腥风和田园乡下的宁静淡雅。也许她正是剑心那把狂舞之刀的刀鞘，但在大时代的背景之下，两个人的渺小幸福一触即碎……