家具设计师金禹镇有个不为人知的秘密：他每天一觉醒来都会变成年龄、国籍、性别与前一天截然不同的人，时而年轻帅气、时而老态龙钟，每天都要适应新的自己，这样的他该如何恋爱呢？ 命运的安排让他遇见了兴趣相投的美丽女孩李秀（韩孝珠 饰），在他神秘莫测的生活中，唯一不变的就是李秀对 他的爱。但两人的爱情，也在每一次禹镇“变身”之后，面临全新的考验。
皮特（郭富城 饰）自幼失去了父母，和哥哥格瑞高（黄文永 饰）过着相依为命的生活。皮特一直生活在哥哥无微不至的照顾之下，从来不用为生计苦恼。格瑞高的真实身份，是专攻网络的黑客特工，让皮特没有想到的是，哥哥竟然因为参与了攻击国防安全系统，出卖情报而惹来了杀生之祸。 皮特失去了哥哥的庇护，坚信哥哥的清白，亦知道相信哥哥的只有自己。他联手好友班尼（吴彦祖 饰）和珍妮特，来到了新加坡，开始着手调查事件的真相。随着时间的推移，调查的深入，一个关系到国防安危的阴谋渐渐浮出了水面。皮特和警方合作，决心找出幕后黑手，替哥哥报仇。
从学校毕业之后，凉风青叶（高田忧希 配音）成为了充满希冀和干劲的职场新鲜人，尚在学生时代，青叶就十分憧憬一间名为“飞鹰跃动”的游戏公司，如今，青叶终于凭借着努力和实力，成为了公司中的一员，迈出了实现梦想的第一步。 外表严厉冷酷内心却柔情似水的八神光（日笠阳子 配音）、温柔端庄，对八神光有着别样感情的远山伦（茅野爱衣 配音）、沉默寡言，不善与人交流的泷本日富美（山口爱 配音）、个性大大咧咧活泼开朗的篠田初（户田惠 配音）、甜美可爱拥有高超画技的饭岛结音（竹尾步美 配音），在这些前辈和同事们的教导和带领之下，青叶在游戏界会闯荡出一片怎样的天地呢？©豆瓣
《库尔斯克》的故事聚焦2000年俄罗斯核潜艇“库尔斯克”沉没事件。彼时进行作战训练的库尔斯克号艇内鱼雷自爆，118位船员全部罹难。事件也成了历史上最严重的潜水艇事故。俄罗斯库尔斯克号核潜艇是当时世界最先进、最大的战术核潜艇之一，专门用来攻击航空母舰，曾被媒体誉为“航母终结者”。像“泰坦尼克”号超级油轮一样，库尔斯克号核潜艇也曾经被认为是“永不沉没”的潜艇。
肖阳在深圳打拼多年，和发小陈俊宇拍档运营的证券公司蒸蒸日上。美丽的妻子产期将至，一切美满幸福。可是在13日黑色星期五那天，妻子驾车去诊所产检途中却发生车祸身亡！从此肖阳的生活陷入了无尽的黑暗之中。
暂无简介
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.
爱情是命中注定，亲情是与生俱来。 漫长人生有伴同行，互相照应，守护彼此。途中有人悄然离队，有人中途加入，无数的偶然和相遇造就每个人不一样的路 阳日正（马德钟饰）是一名独身主义者，与已婚的夏中秋（徐荣饰）和符骏（曹永廉饰）成为了兄弟，无论结婚还是不结婚，都各有辛酸。 游子澄（李佳芯饰）的出现影响了正的生活，正喜欢澄，与她发展办公室恋情，更第一次产生结婚的想法。此时，澄告诉他，她身边早已有苗成林（黄奕斌饰），两个男人的暗战正式开始……
在享受一个难得的假期之后，Scott（Sullivan Stapleton）和Stonebridge（Philip Winchester）被召回20分部接受新的任务。另一名20分部特工在黎巴嫩贝鲁特追踪高深莫测的恐怖分子al-Zuhari不幸丧命，Scott和Stonebridge必须查清事情的真相。一条新线索引导他们来到哥伦比亚的偏僻丛林——拒信al-Zuhari的一个盟友正潜藏在这片由势力庞大的贩毒集团控制的地区。
新型毒品在香港悄然弥漫，这次的毒品具有更大的欺骗性，伪装性也极高。青少年极易上当。一少女吸食后死亡引发了社会各方的关注，舆论哗然。为了维护社会稳定以及民众安全，警方高度重视，从各部门抽调精英成立专案小组，誓要将整个贩毒集团连根拔起! 怎料这个贩毒集团的反侦查能力及隐蔽性，伪装性极高，使警方一筹莫展。在队长阿聪的精密部署之下，派出的卧底几经周折成功打入了贩毒团伙，并逐渐得到了贩毒集团的信任，获取了新型毒品的惊天机密。正当收网之际，警方的卧底身份也被天才制毒师发现了，凶残地把她当成了试毒工具直至死亡，加深了警方彻底抓获制毒恶魔的决心。双方斗智斗勇，与毒贩展开大战。使贩毒的两高层离心反目，制毒师认为完美的制毒贩毒系统，却败给了人性贪婪、败给了自己的狂妄自大。警方最终将毒贩一网打尽，用生命谱写了一曲缉毒英雄之歌。
东北古装喜剧热血回归，众多实力大咖爆笑演绎！