接连发生的数起凶杀案让香港的市民们陷入了恐慌之中，死者均为年轻的长发女性，死后有遭人强奸的迹象，种种线索表明，这些案件系同一凶手所为。邝美枝（袁咏仪饰）自幼便失去了双亲，和妹妹美儿（曲海伦饰）过着相依为命名的生活。美儿在智力方面有着残疾，因此整个家庭的重担都背负在了邝美枝的肩上。所幸有心理医生古柏奇（金城武饰）的帮助，邝美枝的精神才没有崩溃。然而让她没有想到的是，美儿竟然成为了连环凶手保罗（单立文饰）下一个作案目标。在阴差阳错之中，邝美枝误会古柏奇就是那个凶手，她发誓要手刃后者为妹妹报仇，与此同时，保罗也因为古柏奇目击了他行凶的场面而想要将他除之而后快。
暂无简介
金发碧眼的洋娃娃（Emily Browning 饰）宛如一只时刻会受到惊吓的小鸟，这一天她被送进一家私人会所。该会所由蓝佬（Oscar Isaac 饰）掌控，他四处网罗妙龄女孩，并让葛斯基夫人（Carla Gugino 饰）教授她们舞蹈，旨在取悦那些腰缠万贯的富翁和手眼通天的政要。洋娃娃在此结识了小甜荳（Abbie Cornish 饰）、火箭女（Jena Malone 饰）、布女郎（Vanessa Hudgens 饰）、黑琥珀（Jamie Chung 饰）这4名好友。洋娃娃不愿沦为供人把玩的工具，她与朋友们商量从此逃走。逃亡计划需要4样工具：地图、打火机、刀和钥匙。朋友们负责盗取这些工具，而洋娃娃则用她那迷人且极具魔幻色彩的舞蹈吸引着蓝佬等人的注意力。 只是终究也分不清，这是谁人的魔幻世界……
函谷关是老子著述《道德经》的灵谷圣地，是道家文化的发祥地。该片由河南影视集团和三门峡市委市政府等联合拍摄，我省著名导演马成云执导。片中老子一角由沈保平饰演。该片体现了老子既重自然和天道，也重人生与人事的思想，艺术地再现了老子在函谷关冥想后形成的以“自然无为、厚生自爱、知足知止、见素抱朴、少私寡欲、功遂身退”等为主要内容的人文传统。
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.
男主刚退伍回来，没有找到住处，借住在阿姨家里，阿姨跟表妹都是两个放荡的女人，对男主的成熟健壮的身体非常喜欢，表妹肤白貌美，一双大长腿非常撩人，她意外发现男主在打飞机后，幻想出兄妹两人极度羞涩的乱伦性爱，而就在两个女人对男主垂涎不已的时候，男主竟然带来了自己的女友，这让阿姨非常嫉妒，她决定必须迈出一步，跟男主发生关系....
西施為了初戀情人，曾經生死相許，海誓山盟的戀情，心甘情願的接受范蠡要求。接受越王夫人嚴格的訓練、他要以自己的美艷府妹和聰明靈性去迷惑夫差，他要消磨夫差意志，損耗夫差體魄，引起吳國軍臣的猜忌，百姓的背棄，使越一舉消滅吳國，振奮越國，報仇雪恨。 西施以飽含情韻的筆觸為我們描繪了兩千多年前那動亂年代"春秋無義戰"越王勾踐和吳王夫差兩國君王之間的生死鬥構成了一幅驚心動魄而又回腸蕩氣的歷史書卷。西施作為一個美女、一個亡國的女奴，心懷著國仇家恨肩負著君王的委託，來到了吳國，去完成一項本不該他負擔的使命，但在這吳、越爭霸的激烈鬥爭中，他逐漸發現了他原來恨的也許是不該恨的，而愛的也許是不該愛的。最後他許則了自己所愛…
"Last Chance U" follows a group of young men training to become the future stars of the NFL. Based at East Mississippi Community College (EMCC), "Last Chance U" takes us on a journey to understand the real men of the gridiron at one of the most successful, but least known athletic programs. Each player has incredible talent and drive to be the best, but each face their own uniq...
可爱的猫咪、古怪的技能和多彩的魔法！加入猫咪爱好者盖比和她的朋友猫熊喵，与他们一起踏上动画冒险之旅。
某一天，都市中突然出现了无数诡异扭曲的怪物，这些怪物会用会在晚上攻击或者扭曲影响普通人的心智，让他们变得类魔化。 政府将这些突然出现且难以名状的怪物，称之为“恐怖” 为了应对“恐怖”的攻击，政府高层和富商们制造出来漂浮城，远程控制着整个世界。然而大部分的民众仍然生活在地面上，仍然从事着生产和工作。 ......
平安夜即将来临。这一天也是朱利安迎来十一岁的日子。通常这是一年中最好的一天，充满了姜饼和橘子的香气、噼啪作响的炉火、装饰好的圣诞树和摇曳的烛光。但今年一切都与往常不同——朱利安和他的家人悼念他姐姐的离去，朱利安觉得圣诞节被取消了。然后有一天，朱利安遇到了无忧无虑且热爱圣诞节的海德薇，他开始相信也许圣诞节终究会一直存在。但是海德薇的房子有点奇怪：那个一直在房子周围鬼鬼祟祟的老人是谁？
