僕はリョウ（佐藤良洋）。バイトに、パチンコに、人生に負けっぱなし。道で拾ったアタッシュケース。金かと思ってたら、中から出てきたのはロボワイフ・エリカ（周防ゆきこ）だった。ご主人様の言うことは何でもきくって言うから、彼女のカラダを売って金を稼ぐことにしたんだ。だけど、僕のことを1番わかってくれるエリカをどんどん好きになっちゃって…。
“黑夜给了我们黑色的眼睛，我们应该去寻找光明”。一项划时代的梦境实验导致志愿者离奇殒命，来自唐人街的华裔犯罪心理学家白卓宇接手查找事实真相，发现梦境实验研制出来的新药存在缺陷。为了拯救被噩梦侵扰的人们，为了将正义付诸行动，白卓宇挺身而出，突破层层阻碍，最终将真相公之于众，还社会一份安宁，为黑夜带来了一道黎明的曙光。
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。
男人凭借一口牙成了全县名人，村民却气的想给他砸掉#砸掉你的牙
石头村又到了一个丰收的季节，金色海洋般的麦田，隆隆作响的收割机，还有喜获丰收的农民们，构成了一副社会主义新农村的和谐画面。麦田里蹲着一个特殊的人物，他尤其关心麦子的质量问题。这个人叫田大牙，他是这个村的农民，同时又是这个县的验粮官。在农村，农民纳税的方式就是缴公粮。故而每到麦收之后，农民们的头等大事就是将自家部分麦子送往粮站。而粮站有个负责检验麦子的“验粮官”，麦子是潮是干，是瘪是圆，能不能达到国家验收标准，全靠验粮官说了算。石头村所在的这个县相对落后，验粮官田大牙验粮的方式是通过牙咬。然而，他那副特殊的牙，验起粮食来，简直可以与高精度的验粮仪器媲美了。田大牙在验粮这件事上有点死心眼，只认麦子不认人。在验粮这套程序上，把关尤为严格。无论是威逼还是利诱，田大牙皆不为之所动。在田大牙的心中，粮库里的麦子是他的命根子。为此，田大牙着实得罪了不少人。一场突如其来的大雨，让这十里八村的麦子遭了殃。许多村民的麦子过不了田大牙那一关。田大牙成了村民们的公敌，村民们恨田大牙不讲情面，最恨的是他那副用来验粮食的牙。有些激进份子甚至用石头砸漏了田大牙家的房顶，石头上还写上：田大牙小心你的牙！田大牙只能将委屈诉诸于村长，正是由于当年村长的引荐，田大牙才当上验粮官。尽管这次村长的麦子也没能过田大牙那关，村长仍然很支持田大牙，并在广播中声讨砸房的人。村长的广播引起了本村的村霸金蝌蚪的注意。金蝌蚪原本认定今年这场突如其来的大雨使村民们的麦子受了潮，依靠晒麦子一定可以发一笔横财。于是他将养鸡场的孵化机改造成晒麦机，并给自己的晒麦店取了一个美名——加州阳光。然而事与愿违，尽管金蝌蚪采取了种种营销手段，“加州阳光”仍然无人问津。在跟班瘦猴的提议下，金蝌蚪打起了田大牙的主意……
伊莎贝拉·罗西里尼将加盟天空电视台打造的古罗马题材剧集《多米娜》(Domina，暂译)。卡司包括卡夏·斯穆特尼亚克([他们])、利亚姆·坎宁安、马修·麦克诺提(《超能少年》)、克里斯汀·博顿利(《去他*的世界》)、科莉特·特汉奇奥(《猎魔人》)等。西蒙·波克(《雪镇疑杀》)担任制作并操刀剧本，克莱尔·麦卡锡([奥菲莉娅])执导。故事讲述尤利乌斯·凯撒遇刺之后，莉维娅从一个幼稚的年轻女孩开始转变，最后成为了罗马最有影响力的女皇，这都是出于想为父亲报仇及保护儿子的决心。
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.
11月2日 22-23赛季欧冠小组赛第6轮 比尔森胜利VS巴塞罗那
秋菊(甄珍飾)從梅縣逃往香港，找她在香港唯一的朋友。誰料，因秋菊有點姿色，竟被騙出賣肉體，幸好及時逃脫，遇上了一起逃往香港之阿妹姐(歸亞雷飾)。秋菊被介紹清潔女工，偶然認識了酒店董事(秦漢飾)，秋菊從此飛枝頭變鳳凰。本故事以秋菊逃往香港後，她及她身旁的人所受之遭遇，揭露出香港社會之人慾橫流……
一对从小因家庭因素而拆散的双胞胎姊妹，两人从小在不同的环境中长大。因为妹妹（天颖）的失踪案件，希颖开始感受到双胞胎特有的心电感应，透过感应，让希颖感觉到妹妹失踪的案件并不单纯，因此决定独自找出一切的真相。。。。。。
五个被奇异闪电击中从而获得超能力的少年犯：能隐身的西蒙、长生不死的雷森、倒转光阴的科蒂斯、让人无法按捺巴望的艾丽莎，以及会读心术的凯莉；在前两季中大师都被各自的超能力折腾得够呛。埋没着新身份的西蒙也逐渐成为"反社会五人组"的带领者；在新一季中，他跟艾丽莎的豪情会如何成长下去？他能率领五人组解脱林林总总的麻烦么？ 超能少年第四季迅雷下载： http://www.xfplay.org/oumei/chaonengshaoniandisiji/
电视剧编剧周世杰（李连杰）被妻子莫尼卡（关之琳）闹离婚，郁闷之下开始编写剧集《冒险王》的剧本，想象中他成了民国时代的冒险王卫亦信，莫妮卡变作日本特务美加子，藉此宣泄郁闷。 唐三藏当年西天取得、今下落不明的无字真经成为中国及日本政府争抢的目标，为免日本人捷足先登，中国政府邀请考古专家卫亦信及其徒弟包教晓（金城武）追查真经下落，得知线索在经盒表面，两人混入日本领事馆，结识身份神秘的美女美加子，后两人又追线索到某日报社，从编辑英叔（罗家英）口中知晓经盒下落，但消息亦被美加子得知。