彼德在新闻界是个呼风唤雨的经纪人，包装政客候选人是他的生财之道，颠倒是非，混淆视听是他的拿手好戏。那些被他包装的候选人有如傀儡一般被打扮成受人欢迎政治偶像，吹嘘阒根本无法实现的政治报复。凭借彼德的智慧和候选人充足的资金支持，选举往往是胜券在握。眼看新一届州长大选在即，竞选风云再起杀场，但彼德似乎另有打算……
民国年间，江南小镇金家客栈连发两起命案，捕探薜沧舟（王强 饰）疑是江洋女盗孟玉堂（周晓芬 饰）所为。孟玉堂矢口否认薜的指控，并建议薜与她联手办案，所得钱财平分。此时，孟玉堂的眼线又在店内被杀，一时间客栈乱了营，纷纷退房。保安团以不能放走嫌犯为由将众旅客扣押。查房中，冯队长（崔京生 饰）又发现自己的眼线章有根（王峻 饰）倒毙在段四（何麟 饰）房间，薜沧舟则认为是客栈金老板栽赃，当下无话。是夜，孟玉堂抖动如簧之舌，胁迫段四与其合作，以取薜沧舟性命。趁金老板不在屋，张龙飞在金老板填房锦凤（刘玮 饰）自己的卧
故事讲述21世纪有两位天才女高中生，降临在这个靠打麻将实力来左右人生的时代。 一位是每一次都能够以正负0分没输没赢的方式打完牌局的少女宫永咲。 另一位是在全国中学生麻将大赛个人组中夺冠的少女，经验数据系选手原村和。 因某次偶然的相会，和被咲不在乎输赢的打法所击败，对咲说出“你不喜欢麻将”这句话。 咲被这一句话刺激后，一方面激起斗争心另一方面为了追赶姐姐而加入和所在的学校麻将部，两位少女就此向麻将界的顶点进发。 《天才麻将少女全国篇》》（日语：咲-Saki-全国编）是根据漫画《天才麻将少女》改编的电视动画，内容上承接2009年电视动画《天才麻将少女》的剧情，描写清澄高中进入全国大赛后的故事。 目前电视版全国编第一季结束了全国赛下半区二回战，清澄高中对阵姬松高中，永水女子高中，以及宫守高中。而漫画版已进入三回战。
捕快郝龙霄以缉捕潜逃重犯为己任，过着不贪功名只爱财的逍遥生活，但看似一片盛世的长安实则诡事频出，并不太平，郊外回城的王将军被人截下，拦路的美艳少女忽然幻化成巨蛇，而王将军亦显露猩猩真身，与之缠斗一番，场面惊天动地。等到捕快郝龙霄知晓时，王将军已经身死躺在灵堂上，这桩凶案他能否凭一己之力侦破，对抗邪恶，保长安百姓太平。 长安兵变平叛未竟，人心浮动，当朝皇帝准备借给太上皇大办寿宴，开仓放粮来安定民心。幻兽妖魔之王鬼车欲借此大摆先天阵法，吸聚百姓精血，颠覆人类，以幻兽来控制世界。长安大理寺捕快郝龙霄，前身为皇帝贴身侍卫“十六卫”之一，神功盖世。为救被妖兽伤害的妹妹李梦璃，不料被鬼车所利用，为其历尽艰险，夺得先天阵法所必需各类法器，当阵法开启，郝龙霄识破鬼车的惊天阴谋，与之展开生死搏斗，危急关头郝龙霄神门洞开，才知自己前生乃幻兽图腾之神—凤，凤与鬼车的正邪较量，惊天地泣鬼神，最终凤与鬼车合为一体，火烧涅槃，同归于尽，拯救了黎民苍生。
NBC宣布一口气续订《#法律与秩序：特殊受害者# Law & Order: Special Victims Unit》三季（22-24）。
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.
妻子为偿还沉重的债务被迫放弃了40年寿命，这名男子也因此看到了自己供职的操纵时间的生物技术公司黑暗的一面。
一次偶然中，古董商人郭敦煌（钟发 饰）和其徒弟发现了一座古墓，墓中躺着三具额头上贴有符纸的僵尸，在僵尸的身上，郭敦煌发现了生财之道，却在无意之中将镇压僵尸的符纸弄掉，引得僵尸复活，他的徒弟亦因为和僵尸搏斗而身负重伤。 郭敦煌一行人找到了林医生（林正英 饰），求其救治，林医生告诉三人，僵尸十分危险，必须将其彻底消灭。然而，郭敦煌却并不愿意放弃好不容易弄到手的摇钱树，与此同时，警方亦闻风而动，情势十分混乱。男僵尸（张荣祥 饰）和女僵尸（王玉环 饰）千方百计寻找逃脱的办法，小僵尸（何建成 饰）却和人类小孩交起了朋友。
《#夏日重现#》是作者田中靖规创作的漫画作品。近日，该漫画宣布完结，同时动画化、真人化和现实逃脱游戏化。 青梅竹马的潮死了——。听闻这个悲报，慎平回到了阔别已久的故乡和歌山市·日都岛与家人再会并出席葬礼。但是岛上貌似陡生异变，充斥着不寻常的气息……？
阿沙（Ondas Besikbasov 饰）由海军退役后回到草原，寄住在姐姐一家的帐篷里，姐夫将他介绍给附近最后一位待嫁的姑娘图潘，阿沙只顾将海上的见闻在对方二老面前聊得性起，岂料帷幕后的姑娘嫌他耳大。姐夫对阿沙相亲失败大感懊恼，羊群中的母羊频频难产，无法成家的阿沙却一时不能担负牧人的职责。难耐姐夫冷脸的阿沙再次登门求亲，虽然又被拒绝，但阿沙从门缝偷窥图潘以后，真的爱上了这位姑娘。 草原上的生活艰辛寂寞，收音机广播内的消息和好友托尼经常扮演着外界的诱惑。牧民迁徙的时节快要到了，阿沙与姐夫大吵后愤而出走，但他却被一只难产的母羊阻住了…… 本片获2008年戛纳电影节“一种关注”单元奖，东京电影节金麒麟奖。
三毛自幼失去父母，终日在上海街头流浪，饿极了吃刷广告的浆糊，困了睡在垃圾车里。为了生存他送报纸、推黄包车、捡烟头，然而霉运却总尾随其后，所有的事都以失败告终。他好心做善事，反遭到诬陷和殴打。不过，生活在黑暗底层的三毛始终保持着诚实善良的性格，他从不愿为一口饭而沦为他人做恶的工具……
6岁的秋秋是个天真可爱的小女孩。她父母离婚后，母亲又嫁他人，秋秋只能跟父亲阿满生活在一起。一天，阿满带着思念母亲的秋秋去找前妻潘玉兰。潘玉兰见丈夫关正光去了外地，就把秋秋留在身边过夜。不料夜里关正光提前赶回来，他见到秋秋出现在家里感到十分意外，他不允许秋秋闯进自己的安乐窝。阿满单位的钟经理是位心地善良的人，他像对待亲人一样和秋秋相处，还经常去保育院替阿满接秋秋。钟经理为厂使阿满和杨春娘喜结良缘，他把秋秋说成是自己的女儿。秋秋生病了，疼爱孩子的潘玉兰把秋秋带回家照看，谁知再次引起关正光的不满。秋秋赌气带病出去游逛，无意中听到杨春娘正对父亲阿满讲：“原来真担心你有孩子，后来钟经理证明你确实没有，我才放心了”。秋秋听后伤心极了，她抱着个布娃娃躲在不引人注意的角落里，找到了权且栖身的宅钟经理为了阿满与杨春娘顺利结婚，亲自把秋秋送到农村，托付给阿满的父母抚养。秋秋流着眼泪送别了关心和疼爱自己的钟伯伯。阿满父母无力照管秋秋。秋秋悄悄跑出去，一路上忍饥挨饿，在好心人帮助下安全回到城里家中。秋秋的突然出现使杨春娘大吃一惊，她哭闹着要与阿满一刀两断。秋秋知道自己到哪儿都是多余的，幼小的心灵受到沉重的打击，她再次出走了。秋秋不知不觉走到妈妈的楼前，她仰面大声呼喊着妈妈。但她昕到却是关正光无情的回答：“这儿没有你的妈妈。”可怜的秋秋又冷又饿，蜷缩在一家昏暗的门角弯睡着了。阿满、潘玉兰、钟经理和许多好心人在大街小巷四处寻找出走的秋秋。秋秋来到动物园虎山前。潘玉兰寻至，追喊自己的女儿。尾随其后的关正光怒气冲冲，却不慎掉进了虎山之中。谁知奇迹出现了，老虎只是嗅了嗅他就走开了。饲养员对围观的人群解释“没有人味的人野兽是不吃的”。秋秋被父亲阿满接回家，杨春娘终于战胜了世俗与偏见，她欣然做了秋秋的继母。