一起火锅吧第四季

收工了，一起火锅吧！《一起火锅吧》第四季是《这！就是街舞》第六季的会员衍生节目，三位队长和总导演、总编剧一起畅聊本期节目热梗和幕后的心路历程，同时会有热门选手惊喜现身，与队长们一起嗨吃火锅、游戏互动。

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暂无简介

重装战警

影片以缉毒行动为背景，讲述了由陈小春饰演的重装警察总督察陈志威为打击巨型毒贩交易，率领手下奋勇缉拿毒贩，最终成功瓦解了黑暗势力的故事。

鬼三惊2

《尸还魂》血性男子阿良发现女友桂儿和另一个男人波苏搞在一起，愤怒的阿良驾驶机车追赶，结果不慎车祸身亡。葬礼的第三天，平日的狐朋狗友悉数到场，连桂儿和波苏也到场上香，而灵异事件也突然发生。在此之后，众人寻找阿良丢失的手机，阿良的鬼影却接连出现；《献阴琴》某女子教会学校，传说曾有一个为情而死的修女，她死后变成无头女鬼，在夜晚弹着动听的钢琴。而如果虔诚地向他许愿，很快就会梦想成真。但是这也伴随着可怕的危险。充满嫉妒和爱欲的女孩，为情涉入险地；《祭纸扎》纸扎店老板的老婆珠珠外遇归来，对老公大献殷勤。常被欺负的小伙计阿默刚好从网上发现一则车祸消息，而这个消息让他大为震惊！恐怖不眠夜，阴雨连绵。

谁是凶手

收时节，白杨树农业生产合作社社长张登山与第二生产队队长田大虎因麦收问题，发生了口角。随后张登山中毒病倒。张登山的本家侄子张万寿一口咬定张登山中毒与跟田大虎吵嘴有关，很多疑点说明田大虎是凶手。田大虎因此蒙受冤枉，公安人员经过艰难而巧妙的侦察，发现张万寿原来是暗藏的特务。张万寿狗急跳墙，与富农云卿策划进行破坏，被田大虎的未婚妻郭秀娥发现并告发。张万寿终于落入人民的法网。

吸血鬼侦探

当人类不停地开拓世界的同时，另一个高贵而神秘的种族选择了深藏于地下。他们称自已为血族，而人类则叫他们吸血鬼。叶白（涂世旻饰）是一名“吸血鬼侦探”，专门负责侦缉与吸血鬼有关的案件。他发现近来夜宁市吸血鬼袭击人类的案件突然增多，而正在他要开始调查的时候，自己也被袭击了。叶白侥幸逃过一劫，却发现自己被吸血鬼咬了，开始出现对吸食鲜血的欲望。与此同时，一个号称“人类对吸血鬼作战最终防御部门”的组织“左门”找上门来，邀请叶白加入……短短的几天，叶白的日常完全被颠覆。养母玫瑰姐（陈乔希饰）居然是左门的创始人，还跟左门老大乌木(罗康饰)关系不浅；袭击他的吸血鬼是日本血族皇子耶罗（李腾飞饰），耶罗为什么会手下留情？等待叶白的，究竟是怎样的未来……

嗨起，打他个鬼子

《嗨起打他个鬼子》讲述的是1938年，国民党南京政府西迁重庆后，贵阳成为战略重地，日军为打通西南通道，派遣小分队到贵州腹地进行情报窃取工作，从而引发贵州少数民族英勇抗日的故事。

这家酒店太可怕了！厨师把人肉端上餐桌，众人吃完后竟然没有一个人察觉到不对！#食人剧场

核灾难发生之后，饥饿的一家人被一顿饭所诱惑，参与了一场由一家酒店举办的舞台剧，然而观众却开始渐渐消失不见。

欧洲的某个地方

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.

包公生死劫

宋朝仁宗年间，灾荒连年，契丹又屯兵中原边境，形势十分恶劣，而太师府却是一派娱乐升平，边关信使前往太师府向三司使张之平告急，告知一百万两军饷被扣，河东三军就快断炊，军中十万火急。假传圣旨的太师心中暗惊，派人假扮契丹人追杀信使，信使不敌，重伤倒在开封府前。包拯目睹信使被刺，心中疑团顿起，觉案情重大，遂面陈皇上，决定亲往河东查访，包拯几人冲破重重艰难险阻，终于来到边关兵营，了解到军中实情，不由怒火中烧。……

雷霆战警

刑警刘鸿涛是个破案高手，同事们把他的名字颠倒过来，昵称“神探红桃六”，不料由此让刘鸿涛陷入麻烦。最近几个犯罪现场都发现了一张红桃六的扑克牌，为查明真相，刘鸿涛顺藤摸瓜，查到犯罪团伙联络人马燕。不料马燕却突然死亡，线索中断，刘鸿涛从此坠入层层迷案之中。经过努力，刘鸿涛查到杀害马燕的凶手，不料此人竟是自己过世战友妹妹的男朋友——李晓军。在刘洪涛的多方调查的证据面前，李晓军交代了一个代号“红桃六”的幕后黑手一直在暗中帮助自己隐藏犯罪事实。为抓住“红桃六”，刘鸿涛在上级领导的精心布置下，让李晓军做了线人。就在刘鸿涛锁定嫌疑人时，自己却被诬陷成是暗藏的“红桃六”。刘鸿涛将计就计，让罪犯“红桃六”误以为诡计得逞。刘鸿涛最终将真正的“红桃六”抓捕，破获一个和腐败官员相勾结的犯罪团伙，洗脱了自己的嫌疑。