无限重生

在2034年，杨俊康教授发明了T芯片，植入T芯片的人类，不再产生疾病，医疗芯片集团普世公司垄断了T芯片专利技术后，将芯片移植技术推广到了普罗大众，使人类开始依赖T芯片。十年过后，一只神秘的雇佣兵组织袭击了普世集团总部，并极其残酷的杀死了总部除了杨俊康孙女杨小青之外的大多数人，并将一种从未见过的芯片病毒植入到了中心控制台中。一瞬间所有已经移植过T芯片的新型人类全部瘫痪，生命岌岌可危。

猫咪不跳舞

　　《猫不跳舞》是个有关一夜成名的故事。主人公丹尼是一只极有天赋的猫，它毕生的愿望就是成为明星，然而当它发现在好莱坞只有人类才能获得好角色的这个事实之后，星路一度受挫。在大屏幕上，动物们可以发出各种叫声，但是猫却不能跳舞。幸好它新结交了一些朋友：热情的河马蒂利、可爱却悲观的猫小姐索亚、可爱的企鹅帕吉。在这些朋友的帮助下，丹尼打破种种障碍，刻苦努力，终于实现了自己的梦想。                                                                            　　好莱坞讽刺喜剧动画，调侃米高梅、派拉蒙、福克斯，克拉克盖博、琼克劳馥、加里格兰特等一众好莱坞老牌电影公司及明星，尤以恶搞秀兰邓波儿为甚。黄金年代至九十年代各类型经典电影海报，也以特别的方式一一展现，十分生动有趣。                                                                            　　《猫不跳舞》是一部继《狮子王》后此类电影中的一流作品！影片制作精美、乐曲动人、节奏轻快、充满智慧。朗朗上口的乐曲令人耳目一新、神清气爽！《猫不跳舞》的情节带有很大的励志色彩，当...

恋老症

雷克（皮耶-加百列·拉卓Pier-GabrielLajoie饰）是一个外表帅气个性活泼开朗的小伙子，奇怪的是，他偏偏不喜欢如花似玉的年轻姑娘，反而对垂垂老矣的老人情有独钟。老去，在雷克的眼中并非一件恐怖而又丑陋的事情，正相反，他觉得老人们脸上的沟壑散发着致命的魅力。雷克的妈妈是一名护士，在养老院工作，借着这个机会，雷克也来到了养老院做义工，这里对于雷克来说宛如天堂一般。某日，雷克震惊的发现，表面上风平浪静的养老院，竟然为了控制老人而对他们进行了药物注射，与此同时，一位名叫皮博迪（沃尔特·博登WalterBorden饰）的老人也出现在了雷克的视野里。

旅行到宇宙边缘

这是一部最新、目前为止电视上最好看的宇宙科普纪录片！影片从离我们最近的月球开始，一路引导我们探索太阳系到银河系以至人类所认知的宇宙的“边缘”。细致呈现太阳系八大行星的神奇地貌，奇幻的气象变化，3D制作效果极致真实，带领你逐步走出太阳系，饱览整个宇宙的神奇景象，科幻和天文爱好者绝对不能错过的好片！！如果我們能夠前往宇宙的邊緣，我們會看見什麼?是什麼力量凝聚了宇宙，現在有什麼力量導致宇宙的最終毀滅?國家地理頻道新推出四個特別節目，將帶領觀眾進行跨越宇宙的史詩之旅，詳細觀察恆星如何誕生、宇宙的終極命運、其他行星上的生命、以及最神祕也最駭人的現象：黑洞。這一系列特別節目利用精心設計的電腦合成影像，有效地說明地球之外的環境。宇宙會被徹底撕碎到只剩下最小的基本粒子嗎？或者全部的恆星將逐漸熄滅，只剩下冰冷而且無生命的宇宙？宇宙之旅JOURNEYTOTHEEDGEOFTHEUNIVERSE超越尼爾阿姆斯壯(NeilArmstrong)遺留在月球的足跡，本節目飛過明亮的金星前往水星。幾乎完全由鐵構成的水星，或許是一較大行星的殘餘。火星是個充斥極端事物的行星：有龍捲風、火山，還有地球上前所未見的峽谷。木星上永久存在的紅色風暴有地球的三倍大，而且已經持續成千上萬年。土星的衛星泰坦，擁有類似地球的地形，但是泰坦星上的河流、湖泊和海洋，並不是由水構成，而是液態甲烷。那裡會存在生命嗎？節目中將帶領觀眾前往宇宙深處，進行一場終極太空之旅。

鼓王

2006年，安塞腰鼓作为西北地区传承达2000多年的优秀民间艺术的代表，入选了首批国家级非物质文化遗产保护项目，而电影《鼓王》就是取材于腰鼓这一独特的舞蹈艺术。影片以腰鼓之乡安塞县为背景，围绕一个青年农民鼓手，讲述其对“腰鼓文化”的探索，追溯安塞腰鼓艺术的源流变迁，旨在让大家了解安塞腰鼓这项传统文化的独特魅力。在如今大片当道的银幕上，《鼓王》作为一部弘扬传统民间艺术的作品，必然会为电影市场上注入一股新的活力，而喜爱中国文化的电影爱好者们也多了一个绝佳的选择。

逍遥法外 第四季

美国 ABC 电视台宣布续订逍遥法外第四季

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.

偶遇

假期的之去岛上探访表妹仙儿，见仙儿只身打理一间花店，祂便提议为仙儿送货到其客户家鈡，在途鈡与少钕Pauline迎头相撞，的之因抱歉而送了Pauline一支玫瑰。Pauline来到小岛度假但却被一青年苦苦相缠，幸得的之解围，两人相约一起游玩，然而此事看在仙儿眼里感到不是，的之赴Pauline晚宴见仙儿追踪而至，荒忙拉着Pauline离开，两人在沙滩上度过了浪漫的一夜

灵异妙探第三季

《灵异妙探》第三季继续半搞笑路线，在上季结尾的一声“妈”后，Shawn将在新的一季中面对怎样的案件，处理什么样的父母关系呢？ 　　在本季中，一直以为是老爸不对的Shawn或许会了解到一件出乎意料的事实，他能否克服儿时的阴影，父子关系又会向什么方向发展呢？Shawn的老爸，到底会不会 继续他的“找伴儿”行动？或是与再次出现的前妻再续前情？ 　　哦，当然，还请继续跟随Shawn和Gus踏上探案之旅，他出类拔萃的观察能力以及妙语连珠的性格，保准让你继续又骂又爱，虽然Shawn并非通灵师，但他却是位真正的侦探。

找爱之旅

姜文涛和前妻吴桐雨被不知两人离婚的姜文涛的母亲设计加入了一场未知的旅行。在旅行中遭遇感情危机的姜文涛和吴桐雨，纠缠姜文涛的钱华梅，误以为钱华梅喜欢自己的导游夏宝密，总爱多管闲事的林奶奶和对老伴唯命是从的王爷爷，带着萌宝乐乐的贪玩九零后夫妻徐杰浩和李倩倩，还有为调查姜文涛是否有外遇而来的神秘人，他们组成的小团队演绎了各种啼笑皆非的故事。在一段婚姻中渐渐感到迷失了，试着问问自己的心，是否还记得最初的约定……

心花朵朵开

隐瞒之事剧场剪辑版

アニメ「かくしごと」はマンガ家であることを娘に内緒にしている後藤可久士と、娘?姫の日常をつづるコメディ。原作者?久米田康治の画業30周年を記念した劇場編集版では、新規カットが追加され、テレビアニメとは異なるもう1つのラストが紡がれる。