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《一米天空》由视盟国际出品，目前于一百多个收视城市热播。每期6位天空萌娃将结伴去到一个完全陌生的地方，在没有父母的陪伴下，在3天2夜的成长体验中，萌娃们将会用怎样奇趣横生的方式去面对这大千世界的陌生与未知呢？能否完成家长对于他们的考验呢？
侦察英雄周俅退役后进了保险公司，任保安员模特儿招聘大赛上他救了公司总裁韦丽一命，使她免遭康倩的行刺。韦丽把周俅召到办公室，反复盘问，又让他指认凶手，周俅意识到此中有内幕和阴谋，断然辞职。计划落空的韦丽命手下左兵卫干掉康倩。周俅和康倩原是恋人。三年前，康倩在高达公司考取模特儿后出国，从此杳无音讯。 康倩被韦丽骗至码头，遭暴徒凌辱。周俅驾车赶到，救起康倩。康倩在海边向周俅痛诉真情：韦丽是个人贩子，把模特儿卖到国外，牟取暴利。她曾被卖给南美一原始部落酋长为妾，备受摧残。周俅极为震动，决心帮助康倩报警。但康倩知韦丽狡猾奸诈，罪证全在国外，执意要手刃仇人。康倩不忍连累周俅，设计甩掉了他。康倩追踪韦丽到其别墅，正伺机下手，被早有准备的左兵卫抓住。韦丽咬牙切齿地扬言要再次卖掉她。 周俅化妆成大亨，只身闯入别墅，与韦丽公开较量。挟持韦丽，救出康倩。被爱情和正义的力量激励着的周俅和康倩决心联手对敌。生死关头，康倩在周俅的帮助下射杀了韦丽，报了血海深仇，也营救出被韦丽劫持的康倩的妹妹康兰。
愁云惨淡的华盛顿市，一幢普通公寓内，单身妈妈克莉丝（艾伦·鲍斯汀 Ellen Burstyn 饰）和女儿芮根生活于此。然而近一段时间，克莉丝却被女儿种种怪异的举止折磨得烦躁不堪。芮根的行为举止怪异，迥异常人。克莉丝带她求医问卜，终无所获，甚至精神科医生也束手无策。万般无 奈之下，几近绝望的母亲求助于莫林神父（马克斯·冯·西多 Max von Sydow 饰），一个有着丰富驱魔经验的老者。恐怖的夜晚，神父与藏身少女体内的恶魔展开连番较量。这是一个注定让无数人永生难忘的恶魔之夜…… 本片由William Batty根据1949年一起真实的驱魔事件创作的小说改编，荣获奥斯卡金像奖最佳混音奖和最佳改编剧本奖。
故事发生在民国时期的香港，当时军阀割据，横尸遍野，吸引了神秘异族潜伏作案，少帅之妹林夕也惨遭鬼面人吸血致死。三年后，一位号称林夕未婚夫的唐姓男子从海外归来，异常俊美的容貌，暗夜血红的双眸，瞬移飞升的异能，诡异的2号公馆……无不显示着他家族的神秘。唐少从鬼面人手里救下一个小护士，此女竟唤醒了他的生命石，乃是他千年难遇的命定新娘。随后，小护士逃进帅府不见踪影如人间蒸发。为了寻找命定新娘，唐少帮助少帅林朝携手捉拿鬼面人，两人由互相蔑视到心有灵犀，直至鬼面人中计被抓。然而，鬼面人的落网，令少帅的女儿身暴露，唐少的神秘家族也浮出了水面。最爱的人变成了自己最痛恨的模样……
After her fiance sleeps with a celebrity on his free pass list, Abby Meyers, with nothing but five names and a fantasy shared by millions, sets out for Los Angeles to sleep with someone from hers.
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.
When a boat carrying illegal passengers is found crashed in the Thames, the team investigate.