天劫余生

1972年10月13日，赴智利比赛的一支乌拉圭橄榄球队所搭乘的飞机在安第斯山脉失事。生还的二十多位幸存者面对冰天雪地的生存环境，竭尽全力地以求能活着走出这座荒无人烟的死亡之地。在经历了满心希望的等待着救援队伍无果之后，绝望地他们只能面对着残酷的事实，赖以维生的食物日渐减少，海拔气候寒冷严苛，遭遇好几次雪崩以及内心对死亡充满的巨大恐惧。在激烈的讨论和内心挣扎后，他们开始尝试一些不可能做到的事情，分食死尸。终于，在飞机坠毁五十多天以后，天气渐渐转暖，救援队终于找到了他们。活下来的十六个人终于走出了这块死亡之地，再一次与家人团聚在了一起。 　　由美国导演弗兰克·马歇尔执导的灾难求生影片《天劫余生》，根据英国作家皮尔斯·保罗·里德的报告文学《活着：安第斯幸存者的故事》的真实事件改编而成。影片对于人性生存渴望的写实描绘，曾一度激发美国社会对于生命与道德的激烈探讨与辩论。

火星人攻击地球

约四十年前，人类在火星发现史前文明“Aldnoah”科技。伴随着火星殖民进程与科技垄断主张，火星开拓民与地球之间的摩擦越发扩大。 　　2014年，处于休战状态的地球与火星正在进行和平谈判。火星“薇瑟帝国“公主艾瑟依拉姆（雨宫天 配音）以亲善大使的身份访问地球，为打破坚冰做出努力。她的游行车却在日本新芦原市遭到恐怖分子的导弹攻击。火星帝国将其视为地球的宣战公告，随即对地球各国发出攻击，两个星球间的战火再次爆发。受过格斗技与人形战斗兵器训练的地球高中生界冢伊奈帆（花江夏树 配音）与伙伴们加入机甲骑兵战斗。与此同时，公主的侍从斯雷因（小野贤章 配音）亦卷入战争，为救出帝国公主而努力。

除暴

上世纪90年代，刑警钟诚受命追捕悍匪集团“老鹰帮”。这群悍匪犯下惊天连环劫案，训练有素且纪律严明，首领张隼更屡次恶意挑衅，矛头直指钟诚。为将“老鹰帮”捉拿归案，钟诚带领刑警小队咬死不放，誓与恶势力斗争到底。数年间，警匪上演了一次次紧张刺激的较量，悍匪愈加猖獗，警方步步逼近，双方展开殊死对决……

正午

小镇执法官威尔·凯恩（加里·库柏 Gary Cooper 饰）在卸任的当天，同未婚妻艾米（Grace Kelly 饰）举行了婚礼，两人预备开始蜜月旅行的当口，小镇迎来了三位不速之客，他们是皮尔斯、科比和本，三人在火车站等候五年前被威尔抓获的恶棍弗兰克·米勒预感小镇将被卷入一场血腥仇杀的人们纷纷躲避，或者力劝威尔离开，但前任执法官执意留下，并开始在镇上寻找帮手，岂料不得升迁的员警哈维、当年审判弗兰克的法官等人全部与此事撇清了关系，新婚妻子亦不支持威尔的坚守，孤立无援的威尔只得拿起自己的枪战斗…… 这部影片中的时间与真实世界中的时间步调一致。本片获1953年奥斯卡最佳男主角奖等十余项专业褒奖。

破晓时分

娜奥米·沃茨将主演，并担任制片心理惊悚片[狼的时刻](The Wolf Hour，暂译)。影片由阿利斯泰尔·班克斯·格里芬执导，现独自生活的女主角曾是一名著名的反文化人士，在1977年“山姆的夏天”事件中，她几乎与外界隔绝。当她更甚陷入孤立时，一个看不见的折磨者开始利用着她的弱点。

龙凤令

九州封戎国以武为尊，龙刹宗宗主白汐瑶和凤栖盟盟主凌皓贤参与夺宝大战，却因天书令的能量爆炸导致二人灵魂互换。不明情况的二人被迫隐瞒身份潜伏在敌对阵营。两人从互相看不顺眼的冤家，到齐心协力、通力应对门派中各种危机的灵魂CP，也令两人默契渐深。殊不知，拥有天书令的两人早已被圣光会盯上，“灵犀”夫妇察觉到这股正暗自崛起的神秘邪恶势力，立刻达成共识，决定揭破反派阴谋、终止两派争端、维持武林和平。“灵犀”夫妇在这个过程中因朝暮相处、三观一致而日久生情，约定白首一生！

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.

神探娇娃

上官百合，夏紫嫣，柯蓝是警届的三朵警花。为追查一宗少女失踪案，不惜脱下警服，换上性感低胸装，摇身变成夜店女王，暗中调查嫌疑人张辉。经过调查，发现张辉正私下进行珠宝走私，为了收集证据，上官百合故意接近，...

一个购物狂的自白

居住在美国纽约丽贝卡·布鲁姆伍德（艾拉·菲舍尔 Isla Fisher 饰）是一家庭园杂志的记者，在这个繁花渐欲迷人眼的国际大都市，这个美丽女孩漫无边际的购物欲望得到极大宣泄，不实用的服饰源源不断运回家。然而硬币的另一面，却是由此导致的债台高筑。糟糕的财务状况让她的生活一团糟，虽然试图戒掉购物瘾，不过最终都在心仪的商品之前败下阵来。另一方面，丽贝卡希望进入梦寐以求的阿列特杂志供职，阴差阳错进入了该杂志旗下的一个财经杂志编辑部。对理财一窍不通的她偶尔写了一篇角度新颖的投资文章，受到了读者和业内的好评，甚至爱情也随即降临。不过谎言总有拆穿的一天，更何况还有那沉重如山的债务摆在眼前……

萨尼/32

工作和人生都不太成功的國中老師藤井赤理，在24歲生日當天被兩名男子綁架，綁架犯小田興奮地拍下過程，而搭檔柏原則對她坦白說：「晴晴，我一直都很想見到妳。」多年以前，晴晴是一名可愛的小女孩，在11歲時卻以美工刀殺害了同學。當時這起案件引起軒然大波，兇手的照片傳遍各大媒體，因為她一手比三、一手比二的特別手勢，得到了Sunny的暱稱（三二日文發音似Sunny）。關於她的傳說不斷散播，甚至有人開始造神，因而有了一批擁護她的瘋狂粉絲。柏原和小田就是其中的推手，他們逼迫赤理拍攝各種照片和影片上傳到粉絲才能瀏覽的網路論壇。赤理快要失去理智，拚了命想要逃跑，然而其他粉絲紛紛到來，讓她大開眼界的旅程才正要開始…

意甲第26轮 乌迪内斯VS拉齐奥

21-22赛季意甲第26轮 乌迪内斯VS拉齐奥

吻我2011

米娅（鲁斯·维嘉·费尔南德兹 Ruth Vega Fernandez 饰）的爸爸莱斯（克里斯特·亨里克森 Krister Henriksson 饰）即将迎娶福瑞达（Liv Mj?n?s 饰）的母亲伊莉莎白（莱娜·恩卓 Lena Endre 饰），在两人的订婚宴会上，米娅第一次和福瑞达相遇了。 随着时间的推移，尽管米娅已经有了未婚夫蒂姆（乔金·奈特奎斯特 Joakim N?tterqvist 饰），尽管米娅和福瑞达如今已经是没有血缘关系的姐妹了，可这并不能阻止她们之间的关系越来越亲密，一种炽热的感情正在以无法阻挡的速度席卷着两人的内心，而她们明白，一旦这种感情被公之于众，将会对各自的家庭带来多大的伤害。在迷惘和踌躇之间，两人的未来该何去何从？