屈周刊专揭人私隐，公司拥有一队训练有素的狗仔队，行动如职业特工队，随时候命四处搜罗天下丑闻。队长辛力啤与队员黑仔程和林谂临，受命跟踪四人女子乐队，到船上采访她们的行为举动，三人与乐队成员竟产生情愫，由追料变成追女仔，更与西周刊的狗仔队展开采访战。
爱情是命中注定，亲情是与生俱来。漫长人生有伴同行，互相照应，守护彼此。途中有人悄然离队，有人中途加入，无数的偶然和相遇造就每个人不一样的路阳日正（马德钟饰）是一名独身主义者，与已婚的夏中秋（徐荣饰）和符骏（曹永廉饰）成为了兄弟，无论结婚还是不结婚，都各有辛酸。游子澄（李佳芯饰）的出现影响了正的生活，正喜欢澄，与她发展办公室恋情，更第一次产生结婚的想法。此时，澄告诉他，她身边早已有苗成林（黄奕斌饰），两个男人的暗战正式开始……
尾古沟村望族水神家的老爷去世，三个女儿幸代、月子（藤田朋子 饰）和华绘（饭岛直子 饰）围绕遗产以及家族传说中的宝藏展开争夺。华绘的儿子明（福士苍汰 饰）找到天才物理教授上田次郎（阿部宽 饰）帮助破解萦绕家族的诅咒之谜，上田自然不会扔下万年助手山田奈绪子（仲间由纪惠 饰）。遗产分配现场，唯唯诺诺的侍女藤崎千佳子（朝仓亚纪 饰）被逼打开号称会带来厄运的盒子，由此开启了水神家族一连串的血腥悲剧的序幕。三姐妹勾心斗角，彼此监视提防，幸代那个看不见的儿子仿佛幽灵一般逡巡乡村各个角落。命案接二连三发生，是诅咒？还是阴谋？ 本片为同名电视剧第三部SP，为终结篇剧场版的联动作品。
周鳌通过换脸变为爷爷年轻的样子，给奶奶过了难忘的生日，修复了父子感情；强势总监 Gina换脸变身摇滚表姨，挽回了与的女儿濒临决裂的关系；江子微和周鳌完成了OMG对初心、真心、孝心等七种情感搜集，最终也走在了一起。
施家少爺有病，施夫人往廟宇求神，廟祝教她收養一乾兒子小老鼠來檔災，原來正是小老鼠的父親想將兒子賣往富貴人家的計劃。小老鼠賣入施家，很不習慣那種有規律的生活，更與專門服侍他的僕人饅頭作對，令饅頭憤然辭職。小老鼠更製造一件謀殺自己的兇案來逃走，好讓施家不再找尋他。小老鼠逃走後，碰上神偷夜貓，當夜貓知道小老鼠的故事後，便靈機一觸，要小老鼠扮鬼嚇人，而夜貓則扮神父去捉鬼，從中騙取財物……
罗洁夫向死去的妻子绣兰的相片做忏悔，他的表妹小燕来说有一个怪事，有一个黑影老在跟着她，小燕走后,他一个人在屋内，幻觉中她死去的妻子又来跟他说了些话。后来小燕的同学于克明来说他接到一封恐吓信，信中说叫他与小燕断绝关系。罗洁夫他提出为了小燕的安全禁止于克明与小燕来往，经过痛苦的决定于克明同意离开小燕，罗洁夫向姐夫孟利群表明了他已爱上了小燕，但利群反对，并向小燕公开了姐姐绣兰死的真相。
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.
泰俊和書妍捨棄都市生活，在靜謐的鄉間重新開始，並決定分租房子來減輕經濟壓力。不料新入住的兩性小說家華怡竟是泰俊過去外遇的對象，她故意赤身裸體引誘男主人入室，甚至賄賂他人色誘書妍，只為了奪回她深愛的泰俊……
《十小福》是一部青春励志影片，讲述十个优秀的青少年如何成长，在成长中怎样的艰辛，以及遇到恶势力勇于斗争的故事。 本片的导演齐跃是天津人，香港著名武术导演孟龙先生和齐跃认为天津的武术氛围很浓，有很多武...
我们每天都在讨论该如何生活，如何使自己过得更开心。这部片子的导演也在探讨。一伙朋友在小酒馆里讨论该如何面对生活，他们将所有态度浓缩成两个极端，哭或者笑。
因为一次意外，身经百战的杀手弗兰克（摩根·弗里曼 Morgan Freeman 饰）失手被抓，然而，在被押解的途中，弗兰克一行人竟然遭到了同伙的袭击，重伤的法警和弗兰克一同掉入了河中不知去向。 雷（约翰·库萨克 John Cusack 饰）带着儿子克里斯（Jamie Anderson 饰）准备进行一场有趣的野营，没想到河流中竟然飘来两名男子，正是法警与弗兰克两人。法警告诉雷，弗兰克是一名重刑犯，他嘱咐雷务必要将弗兰克送至法院。而弗兰克是一个有原则的杀手，他的原则就是无论如何一定要将目标置于死地。一边是执着正义的雷，一边是老奸巨猾的弗兰克，在这两人之间，一场没有硝烟的战争拉开了序幕。
故事发生在一座名为贝斯厄尔城的虚构的城市之中，和这座城市相对的，是厄尔科马城。这两座城市的人被规定禁止相互产生联系，他们要对彼此视而不见，假装对方完全就不存在，企图跨越界限的行为被视为是不可打破的禁忌。一天，一名就读于厄尔科马城大学的女学生的尸体被发现横陈在贝斯厄尔城的街头，贝斯厄尔城极端暴力案件调查组的泰亚德警探（大卫·莫瑞瑟 David Morrissey 饰）负责调查此案，结果被卷入了两座城市的政治斗争之中。 贝斯厄尔城的的克洛维警探（曼蒂普·迪伦 Mandeep Dhillon 饰）也参与了调查此案，两个本来一辈子都会当对方不存在的人开始产生了交集。