以荒古圣体历险禁地，叶凡非凡人生即将开启。战太古生物，闯星空古路，一路升级打怪修炼万年艰苦。每位主角都将经历挫折，活在当世，何惧未来。
Krysten Ritter将会执导Peacock剧《林中女孩 Girl In The Woods》的头四集，这部8集剧改编自电影《森林之门 Door in the Woods》及《林中女孩 The Girl in the Woods》，讲述女主Carrie从神秘﹑邪教一般的殖民地逃出来，不过这个殖民地其实是护卫着森林里一道门，而门后隐藏着不同的怪物。
数百年前，在欧洲有一些拥有神秘力量的人群，他们被视为邪魔遭到绞杀，不得不逃亡美洲大陆。十七世纪，拥有魔力的五大家族联合，开辟了伊普斯维奇殖民地，他们为自保互相订立契约，以普通人的状态隐匿在人群中。五大家族的四名传人——凯勒布（史蒂芬•斯特雷 Steven Strait 饰）、里德、泰勒、伯格年龄相仿互相交好，他们的小集团是学校中的焦点，转校生沙拉（劳拉•拉姆齐 Laura Ramsey 饰）属意低调温顺的凯勒布，尝试着接近凯勒布却被恐怖的幻象困扰。同时，年满十八岁的凯勒布即将获得力量的升级，同伴里德出于嫉妒而敌视凯勒布令小团体出现了裂痕，学校中其他学生的意外身忙和陌生人科林斯试图接近小团体令凯勒布等人自感陷入了一场阴谋……
一栋豪华别墅，迎来了美丽的女教师刘玉（车艺莲 饰）。这家的男主人顾问泽（刘冠麟 饰）和妻子是二婚（刘佳佳 饰），他膝下有一个美丽的女儿青柠（常奕然 饰）。但是当年因为某起事件，青柠的身心受到极大刺激，她把自己深锁在房间内，而且绝对不允许拉开窗帘照到外面的阳光。喜欢绘画的青柠请过多位绘画老师，结果没有一个让她满意，而刘玉的画作似乎深得她的欢心。 青柠非常喜欢刘玉，
本片将悬疑、玄幻、武打融入到一个关于江湖恩怨情仇的故事里，多条线索、多个人物交织在一起。一座荒宅旅馆、一个落魄编剧、一个诡异莫测的老板、一个阴险狠毒的老妈子、一个嗜血杀戮的厨子、一个行为怪异的流浪客、一个疯癫痴呆的女人……一起展开一场惊心动魄的三个死亡夜晚，最后终于揭开了一段沉潭二十年的灭门惨案谜底的故事。
描述男主角准备带着家人到爸妈家，因为太晚出门一路狂飙，遇上前面白色箱型车挡住于是男主角拼命想超车，超过去还骂对方，这个神秘驾驶决定报复这一家人展开绝命碰撞。
“大白鲨”归来，再现“史诗级”夺命惊魂。巨浪翻滚，白鲨突袭，水上飞机猛然坠入海域，机上乘客被困于海底！沉没已久的死亡游轮内诡谲频发，面目全非的尸体、难以言说的怪异，于寂静无声中狂掀深海恐惧。大白鲨骤然出没、张着血盆大口连环撕咬着落水的不速之客，惨烈尖叫让人心惊胆战！幸存者借助脆弱救生艇逃生，却被潜伏在平静水面下的食人鲨群一路尾随，锋利巨齿伺机行动，静待一口口吞下处于下风的落难人类，凡闯入领地者，绝不留活口。《大白鲨之夺命鲨口》致敬经典、再掀狂潮，锥心恐慌一镜到底，人鲨角逐惊魂动魄……一场暴击灵魂的深海逃生大战，一触即发！
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.
故事二推销员的化妆品公司谁希腊Islans旅游搜索模式在他们的新防晒油的广告明星。
剧集讲述了不会做饭连厨房都没有的余昊（高瀚宇 饰），为了自己创建的美食平台，赞助美食真人秀并自己出镜。但效率优先的他根本不想为此浪费时间学做菜，因而用替身拍摄，得罪了节目组。苏可岚（郑湫泓 饰）临危受命成为公关总监，接手公关工作应对危机，并成为了余昊的厨艺老师。她带他进入了厨房，也慢慢开始进入他的心……
约翰·R·莱昂耐迪执导，故事讲述生活灰暗不堪的17岁少女(乔伊·金饰)偶得可以实现7个愿望的神秘盒子，然而女孩每一次许愿都引发了可怕的后果。该片目前在多伦多展开拍摄，预计明年上映。
作家小微为了稿费强行续写小说《进击的皇后》，新增一个与故事中的女主角梁微微长得一模一样的假皇后，真假皇后的较劲令梁微微陷入与恋人皇上相见不相识的狗血命运。然而午夜梦回，小微却梦到梁微微为了追回皇上，不顾危险逆天改命，两人的真情唤醒她的初心，改写结局，以爱为终。