在俄亥俄州的阿克伦大学读大一的班尼，在一场足球赛中对新生克里斯多夫一见钟情。在亲朋的帮助下，两人的感情日渐升温。但一件曾经发生在两个家庭之间的往事迅速浮出水面，使得二人面临分手危机。《爱的进行时》是一部家庭戏剧，也是一部展现两位小伙在中西部相爱，并用爱来战胜那痛心的过去的青春爱情片。
一部让中老年重温过去，让青少年了解历史的经典老电影——战地黄花。您是否还记得内蒙草原上的乌兰牧骑？是否还记得披着老艺人外衣的旧社会警官七岁红？是否还记得女队员珊丹？让我们再重温一次这部经典的生活故事片，再体味一遍斯琴毕力格和萨仁高娃的魅力。
聂天自幼母亲早逝，父亲不详，也没有修行的天赋，在族内备受冷眼。在一次与同族孩子比武时，聂天一度因境界差落于下风，险些丧命，却在关键时刻爆发出一股奇异的力量，反将对手打败。可这却导致聂天的祖父被逼让出家主之位，让聂天明白了自己莽撞，会带来怎样的后果，决定从此专心修炼，不再进行无意义的争斗。随后聂天在一次意外冲突中，发现自己周岁时抓周获得的一块兽骨内部竟另有一方天地，自此便开启了自己秘境修炼之路。
刘达（屈楚萧饰）、林一木（叶子诚饰）、符号（孔垂楠饰）是高中三人组死党,随着高考的结束,平静的生活开始有了不同。高考分数公布的当天,刘达偷了老爸的车和林一木四处寻找落跑的符号,偶遇烧烤摊老炮,开启了各自的青春启蒙,誓要让自己的20岁闪耀人群。日子就这样过去,三人就这么走过了20岁,纵然人生和计划完全相反,甚至乱七八糟,可是又滋生出新的生活养料,鼓舞他们走向更远的人生。
内详
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.
《舞蹈风暴》是湖南卫视推出的顶级青年舞者竞技秀。该节目从国内外专业艺术院校、院团、舞蹈工作室中挑选出最优秀、最具代表性的舞者进入电视甄选，由此诞生领衔中国舞蹈新力量的舞者。节目充满年轻正能量，同时具备很强的观赏性，节目创造性地采用时空凝结技术，现场设有128台摄像机对所有舞蹈表演进行360度实时观测，定格风暴时刻，给观众带来无与伦比的视觉对抗新冲击。
一名不知天高地厚的热血青年，一个战不胜的武学奇才，格斗场上没有任何规则，谁是最终的皇者…功夫迷阿杰在商店内邂逅一位娇俏美丽的女售货员祖儿，阿杰很是心仪，刚巧有几个小青年来滋事，阿杰以为可以在在心上人面前表演一番，没想到…活泼开朗的祖儿对有些笨拙的阿杰有了好感，并刻意把阿杰介绍给自已的父亲，一名武术界古怪的名将老黑。为了让父亲教阿杰武功，祖儿在父亲与阿杰之间象花蝴蝶一样地穿梭调解……
2004年，美国在伊拉克的战争仍未有结束的迹象，而前方战士的伤亡则一直在增加……美国海军陆战队上校迈克（凯文·贝肯 Kevin Bacon 饰）接受了一项任务：护送一等兵钱斯的遗体回乡安葬，尽管迈克与钱斯素不相识，后者又并非他的下属，但参加过海湾战争的迈克认为有责任帮助这位科罗拉多同乡入土为安。与此同时，钱斯和战友们的遗体从欧洲的机场开始了回家之路，在凝重的氛围中，他们的遗体被仔细的清理、编号，小心翼翼的摆放在灵车中……经过了相关礼仪的培训后，迈克踏上了护送的路途，一路上，他感受到了形形色色美国民众对于战死他乡的战士的敬意，这不单是一次护送，同时也是迈克与死者的一次无声对话……
一桩策划已久的银行抢劫案，由于老三（刘烨 饰）挺身而出，歹徒最终落入法网。老三原本是一名潜艇兵，由于救战友溺水脑部受伤提前退伍。退伍之后，老三依旧每日坚持各种训练，并且不改见义勇为的本性。劫犯黑勇（刘...
五代十国时期，天下大乱，群雄割据在东北一隅，有一个叫做“北唐”的小政权，在战乱中苦苦自保。但是一种名叫“褐面天花”的奇怪绝症突然席卷全国，被感染者皆为男性，不论年龄身份，患上这种天花后必死无疑。北唐国男性急剧衰减，久而久之，男女地位发生了反转。嘉仪帝登基五年却还未生育，六宫之中虽有男妃子却也是独守空闺。今天，在皇太后的苦苦相逼之下，嘉仪帝终于松了口：同意选男妃。