孙逸臣（张继聪 饰）在一次出差中，因女秘书意外遇害身亡而含冤入狱。狱中不仅要与狱霸司徒（黄光亮 饰）周旋，还要面对凶残狱长（郑浩南 饰）的霸凌，只有狱警胡海（张建声 饰）勉强关照。狱中本就度日如年，而一场致命的传染病此时也悄然降临。面对“天灾人祸” 于逸臣决定利用 知识 改变命运，求生申冤。他将如何虎口脱险，为自己博得一线生机？
骠叔（董骠饰）与妻子骠婶（沈殿霞饰）、二女儿（李丽珍饰）、小女儿住在公屋里，已经结婚了的大女儿与女婿希望能搬到骠叔家同住。但本来骠叔家中就地方狭小，现在又迎来即将生育的大女儿与女婿。加上现居的周遭环境复杂，对妻子女儿们的出入造成很多的困扰。本来经济环境不算太好的骠叔，决定在香港楼价不稳定的状态下搬家。在寻找新家的过程中，好不容易找到了一层廉价的住房。一家六口兴高采烈的搬进了新家，心想就此安居乐业了。但没想到地产发展商看中了附近的地皮用作商业用途，企图牟取暴利。地产商用卑鄙手段试图赶走骠叔，骠叔一家决定与邻居一起抵抗地产商，誓要捍卫家园。
Chaos ensues when a father and son travel to a farm festival via the Wine Trail in a Parisian taxi.(http:www.kan84.netbdhdbtshengaizhilv.html)
唐僧师徒4人取经路上，经过女儿国，三徒弟被如意真君骗喝了子母河水，法力全失，此时女儿国正遇到天劫，蝎子精必须吸收女儿国安娜公主的至阴之身才能躲过天劫。此时唐僧师徒正好经过女儿国，在一次选美大赛上，安娜对唐僧一见钟情，安娜帮助唐僧去取落胎水过程中遇到了很多事情，让唐僧和安娜相互产生了感情。在后面蝎子精的出现让这段爱妻颇为坎坷，发生了很多故事......
抗日战争时期，华北根据地龙门村有赵姓父子两人，父亲（舒适）是民兵队中队长，12岁的儿子海娃（蔡元元）则是儿童团团长。某天，赵父让海娃给八路军送一封有关攻打日军炮楼的鸡毛信，海娃装扮成放羊娃赶着一群羊携信上路。 路途，海娃遇到敌人，急中生智把信藏在绵羊的尾巴之下，逃过一劫。海娃被迫带路，晚上却趁敌人熟睡取信逃跑，中间信一度得而复失、失而复得，海娃也再落敌人之手，这回，聪明勇敢的他将敌人引上了歧途，而敌人发现上当时，打伤了海娃的手，这时，八路军赶到。
暑假，七岁的宁宁被送回乡下，由七十多岁的爷爷李福长照顾。李福长偶然间得到了一个老朋友的联系方式，老友身体中风，时日无多。他决定带上孙子，骑着一辆摩托三轮车，去千里之外看望老友。影片以“过昭关”喻指人生，是难得一见的中国乡村公路片。
讲述索尔·古德曼（鲍勃·奥登科克 饰）遇见毒师“老白”之前的故事，描述了本性善良的律师“吉米”转变为游走在法律边缘的无良律师“索尔”的过程。
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.
影片改编自巴西作家、记者、政治活动家（某组织人）阿尔瓦罗 ;卡尔达斯（ Aacute;lvaro Caldas）发表于1993年的小说《乌托邦的芭蕾》（Bal eacute; da Utopia）。 巴西军事独裁统治的20世纪70年代的贝洛哈里桑塔。年轻的女大学生克里斯蒂安娜Cristiana（梅尔;利斯博阿饰）崇拜她的文学教授绍洛 Saulo（费利佩 卡马戈饰），绍洛也爱上了他的这个学生。由于克里斯蒂安娜是个遭到当局追捕的处境十分危险的激进分子，同情武装革命的绍洛便将她藏匿在一间公寓里，两人过着既紧张又浪漫的生活。后来一个受了伤总是蒙着面的武装瓦斯拉夫Vaslav（塞尔吉奥 马罗内饰）也被困到这间公寓里。他们三人生活到了一起，谈论和讨论他们的生活、政治选择。绍洛不在的时候，克里斯蒂安娜与瓦斯拉夫有了更深的交流，渐渐地，她爱上了这个芭蕾舞舞蹈家，于是，革命的爱情在忠诚、背叛与欲望间摇摆，引发了她和她的情人绍洛之间的严重问题并使绍洛做出了抉择。
12月20日 22-23赛季NBA常规赛 黄蜂VS国王
当人生最大危机到来之时，你能够向家人或朋友求助吗？ 你是否会对身边的人掩饰自己的困扰与辛酸？ "与其给人添麻烦不如隐瞒到底？""只要克服眼下的危机就好？" ......请您放心，这种时候只要一个电话。 本故事的主人公就是"出租救世主"，他一定会来拯救你，让你脱离困难。 只要支付按两天一夜计算的费用，只属于你的救世主就会现身，解决你所有的难解之题。 不论是寻人还是简单的家务，或者是解决无法告诉他人的危机，如何使用都是你的自由！ 他们只为钱工作，不必客气！毫无隐患！请尽情使唤他们吧。 然而......他绝不是人们当作救世主来崇拜的"超级英雄"！ 他丝毫没有想要帮助他人的热忱理想！他的真身，只是一个有着烂好人性格、极普通的中年男子。 事实上，他被心爱的妻子儿女抛弃，背负巨额债务，不得不豁出命去帮助别人， 他只不过是被突然出现的"神秘男"欺骗，并被迫扮演"救...
1987年，南非，一名十九岁的少年在雨夜追赶着一辆小货卡，先把整车人逼到死路，再一一开枪射杀，事后并把尸体排成一排，动机不明。那是个对绞刑习以为常的年代，尽管对犯罪过程毫无记忆，少年也只能用生命负责。史蒂夫库根所饰演的辩护律师，企图从执意沉默的少年身上寻找犯案动机，却挖掘出更惊人的真相⋯⋯