哈里耶特（雪莉·麦克雷恩 Shirley MacLaine 饰）是广告界中无人不知无人不晓的女强人，尽管她已经退休多年，但她曾经的事迹依然被人们口口相传。这些事迹当然不是什么好事，因为哈里耶特是一个性格非常糟糕的女人，她严肃苛刻，偏执而又固执，一辈子得罪了不知道多少的人，年老之后依然不知悔改，逼走了身边所有的亲人和朋友。 一天，哈里耶特绝对自己为自己张罗一下讣闻事宜，于是她找到了讣闻作家安妮（阿曼达·塞弗里德 Amanda Seyfried 饰），安妮对形单影只的哈里耶特充满了好奇，于是对她的身世展开了调查。这不查不知道，一查吓一跳，安妮没想到哈里耶特竟然是这样一个恶行累累的讨厌鬼，她决定要在还有一丝时间的情况下改变哈里耶特。
七夕前，李玫从美国飞来四川，探望 在雨城搞旅游规划的未婚夫丁仑。哪想受到丁仑 的冷遇，言语里怪李玫不该这时来打扰他。满心 委屈的李玫独自去碧峰峡看熊猫，因捡手机不慎 落入女娲池中，还脚还崴了，陷入了困境。 萧伟是熊猫基地的驯养师，得知有人还没有 从峡谷上来，自告奋勇前去寻找。被解救的李玫 生着丁仑的气，不愿回去，于是寄宿在古镇萧伟 家。 丁仑向评审委员会作完了报告，一出会议室 就被从成都赶来的母亲截住。丁母责怪他把李玫 弄丢了，边数落边谈他与李玫的婚事。不想引起 了丁仑的反感，说她妈与李玫串通来逼他。丁母 从窗户中看见了楼下萧伟送李玫回来，心中有了 疑问。 丁仑的旅游规划方案没有获得通过，说缺少 城市的灵魂。他的心情糟糕透了，与李玫之间的 矛盾又一次冲突。为让双方都冷静思考，李玫决 定离开丁仑一段时间，到熊猫基地当了一名志愿 者。 和女秘书小雅一块寻找城市灵魂的丁仑，在 古镇撞见萧伟用摩托载着李玫回镇上。而萧伟帮 助李玫住店的过程，被丁仑误认为是苟且，而向 萧伟以拳相向。这一拳打掉了李玫对他的最后念 想。李玫的假期快到，她飞回美国继续完成他的 硕士学历。走之前，她送了萧伟一颗在红豆树下 捡得的红豆。 几月后，获得硕士学位的李玫，再次飞到四 川雨城，与萧伟相逢在熊猫基地。
北宋年间，丐帮帮主乔峰英雄侠义，受武林拥戴，却突遭指认为契丹人而众叛亲离。追寻身世，寻找仇人途中，乔峰与慕容家婢女阿朱相识相知，情愫互生。二人历经聚贤庄、雁门关、镜湖风波，直至阿朱因马夫人设计被乔峰错杀，乔峰终查出一切皆是慕容复为复辟燕国的阴谋，乔峰手刃慕容复，随后带着阿朱的遗愿孤身前往塞外。
内详
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.
该影片以辽宁省营口市老边区刑释解教人员焦基发的事迹为原型，反映了刑释解教人员出 狱后不被社会理解，处处受到歧视，最终在政法委书记和社区主任等社会各界的关怀下，自强不息、重塑人生、艰苦创业的真实感人故事。
影片讲述了曾是参与越战，获知许久未见的儿子自杀的消息，虽然被告知儿子是喝醉跳楼自杀，但看着悲伤的孙女、儿子身上奇怪的瘀伤，以及没有喝醉的证据，起光于是怀疑儿子的死因不单纯，警方拒绝重新调查后，起光决定自己找出儿子遇害的原因。
天下第一铸剑师蒙冶子因铸造名剑含光招来朝廷奸臣赵邯的灭门之祸，拼命保全蒙阳并留下未铸成的承影剑。二十年后蒙阳长大成人，试图为父报仇，但可以克制含光剑的承影剑却始终无法铸成。皇帝病危，机缘巧合下，蒙阳接到了护送太子公子都回宫继位的任务。为了调查蒙府灭门真相并报仇，蒙阳接下任务，路上再次引来杀身之祸。蒙阳护送公子都一路坎坷，同伴几人牺牲，却在危急时刻让蒙阳理解了父亲留下承影剑的含义，终于将承影剑铸成，并查明灭门真相，报了家仇，并辅佐公子都继位，保天下太平。
7月9日 2022NBA夏季联赛 独行侠VS公牛
渐渐习惯了高中生活，曾经的中二病患者暗黑系少年富樫勇太（福山润 配音）无论从外表还是言行来看都已经变成无比正常的男孩了，只是也许命运有意开玩笑，让他的周围充斥着中二病患者或者潜在患者。首当其冲的就是中毒患者小鸟游六花（内田真礼 配音），她无时无刻不在做着各种无厘头且搞笑的事情。学姐五月七日茴香（浅仓幸美 配音）所创立的睡觉部也物以类聚，与小鸟游不遑多让的凸口早苗、外表温柔贤淑但有着强烈黑化欲望的丹生谷森夏（赤崎千夏 配音），可爱的少男少女们交织着校园生活的点点滴滴，上演了一个又一个有趣的小故事…… 本片根据虎虎的漫画原著改编。
十八世纪末期的纽约，警察们还延用古老的办案方式，对罪犯刑讯逼供，年青的警察伊卡布·克瑞恩（约翰尼·戴普 饰）笃信科学的办案方式，因此受到市内同行的排挤，被派到一个叫断头谷的小镇办理一起连环凶杀案。断...
