一个是聪明爱搞怪，有点自负，喜欢捉弄别人的小猪猪；一个是IQ不高，缺乏自信，表面忧郁，内心善良的大傻怪。当这一大一小，性格天差地别的伙伴碰到了一块，他们之间会发生什么有趣的事情呢？在最新一部猪猪侠动画片里，猪猪侠化身具有变身法术的临时神仙，为了获得真正的神仙资格，他必须下凡完成一个任务——帮大傻怪找到自信，并录下他开心的笑声。殊不知这个看似简单的任务却让猪猪侠费尽心思，常常弄巧成拙闹出不少笑话。本剧每集7.5分钟，一集一个故事。剧情节奏紧凑，集集爆笑。猪猪侠借助超级棒棒糖的威力，变身各式新奇可爱的道具，夸张的动作表现和无厘头的对白，定能给猪猪迷们送上一份快乐的动画大餐。
高瑞夫（沙鲁克·汗 Shahrukh Khan 饰）经营着一家网吧，是一个看上去非常普通的男人。可实际上，他是著名影星阿利安（沙鲁克·汗 Shahrukh Khan 饰）的超级粉丝。从很小的时候起，他就被这个银幕上的大英雄深深的吸引着，让高瑞夫没有想到的是，随着年龄的增长，自己的样貌竟然和阿利安越来越相似，甚至相似到了会有人把他们认错的地步。 和自己最喜欢的明星长得很像是一种怎样的体验？就这样，高瑞夫参加了明星模仿秀，并且顺利的得到了头筹，很快就要到阿利安的生日了，高瑞夫决定利用比赛获得的奖金前往孟买，真真切切的看自己的偶像一眼。然而，高瑞夫的计划很快就失控了。
该剧改编自晋江文学城小说《明枪易躲，暗恋难防》（原著：翘摇）讲述正能量歌手梁辰（徐璐饰）和计算机系大数据研究方向的大四学生陆景（林一饰）之间互相砥砺，共同成长的励志故事。 “青春须早为，岂能长少年”，梁辰、陆景等人在各自的领域发光发热，用自己的专业精神去鼓舞和指引喜爱自己的人。用音乐表达“至善、至真、至美”的梁辰，致力于将好的音乐作品带给听众。热爱计算机与大数据研究的陆景，通过研究人类各种复杂的行为、心理信息等海量数据获得大数据学术界的高度认可。陆景用其扎实的专业素养，积极正面地影响着身边的同学们，为社会数据研究做出贡献。两个原本遥遥相望的陌生人因为大数据而相遇，在追梦的旅途中不断靠近信任彼此。
一坛千年女儿红与酒坛子，分别化身成为妙龄少女酒九九和翩翩少年谭坛坛，经过“生鲜”管理局向二人下达任务：必须在一百天内找到人类中的一名符合条件的男子与酒九九完成结婚仪式，化解体内怨气，二人方可到天庭玩耍。此人便是仙潭男校的天年少年高冷，而高冷却是一个十分厌恶酒，并且对酒精敏感，拥有“酒精检测仪”体质的人。酒九九与谭坛坛混入学校，第一天就误打误撞毁坏了仙潭男校的重要雕像，制造了一场巨大的混乱。一场相爱相杀相虐的校园爱情搞笑故事就此展开……
剧情简介“九一八”事变后，东北军战士双龙所在部队遭到日军残酷打击，他侥幸逃脱后被日军苦苦追捕。走投无路之时，他不得不投靠土匪，却受到过去同为东北军某部团长邓殿云所部伪军的围剿。在复杂的斗争情况下，双龙通过各种办法带领土匪走上了进步抗日的道路，并在共产党的领导下，将土匪部改编为抗日山林队，后收编为东北抗日联军第十军，双龙任军长。双龙领导的抗联部队在极端困难的条件下以少胜多，沉重打击了日本侵略者的嚣张气焰，也成为了日军的心腹大患。抗联十军一举歼灭并摧毁了日本关东军“七三一”细菌部队的前身——中马城。一九三五年，双龙加入了中国共产党。为此日军尾田部不惜出动重兵对双龙的十军进行围追堵截。由于日军女特务的混入，双龙部队驻地被日军发现，双龙领导的第十军陷入敌人的重重包围之中。面对数十倍的敌人，十军战士拼死顽强奋战，双龙军长与日军战斗到生命的最后一刻，流尽了最后一滴血。
该片是一部反映现代都市题材的影片，这年秋天某白领丽人职场不如意，身体又患疾病，需要手术治疗，于是走进了医院病房，并与同病房的病友和护士金玲等人发生了 许多矛盾。在治疗过程中，同病房的这几个女人由矛盾重重到沟通、理解和包容，进而产生好感，最后这几个女人病愈出院，并以崭新的精神面貌，重新走向社会、走向新生活。
小白龙因不小心纵火烧毁了玉帝赏赐的明珠。后受南海观世音菩萨出面说情，命他在蛇盘山鹰愁涧等待去往西天取经的和尚。一名远来的小和尚受大林寺方丈之命送本地寺院高僧圆寂后的舍利子，被小妖拦住，小白龙杀出，救走了小和尚。九头虫变成小白龙模样吃了唐僧白马，孙悟空很是气愤与小白龙结了仇。但经过化解，大家一致应对九头虫和万圣公主，救了为难之际的唐僧。小白龙化成白马与唐僧西天取经。 师徒四人取经回来后，天界遇到了一场浩劫。玉兔受嫦娥之命下界送信给唐僧。正在继续谋划攻打天宫，想成为魔王的九头虫再次派人想用女色来迷惑唐僧，不料被小白龙识破打回了原型。此时的九头虫已经得到了牛魔王的支持，抓了众神，仙界大乱。营救重仙的使命托付给了孙悟空。
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.
平凡的一家人阿文（陈以文 饰）和琴姐（柯淑勤 饰）育有两个儿子，叛逆的小儿子阿和（巫建和 饰）与好友菜头（刘冠廷 饰）砍伤人进了少年辅育院，但阿和的女友小玉（吴岱凌 饰）却带着身孕来家里…琴姐不顾阿文反对，将小玉留下来照顾。此时，被砍伤者家属也来找阿文求取巨额赔偿，阿文受不了总是带来麻烦的小儿子，将所有希望都寄托在资优生大儿子阿豪（许光汉 饰）身上，却不知道温暖善良的阿豪心中也藏着不为人知的秘密…
NBC今年的新剧《盲点》凭借良好的收视，已经获得了第二季的预定，成为该季度第一部被续订第二季的新剧。
帅气的上班族天草亮，某天被一位名叫有马一花的女高中生相救，回家后发现这个女孩居然是自己妹妹的好友。为此感动的亮，开始对一花展开直接猛烈的追求，而他轻浮的个性却频频引起一花的反感，对于这一连串的求爱行动毫不留情的吐槽。一花原以为亮是个女人关系复杂的轻浮男，相处后却渐渐发现，亮其实也有温柔与专情的一面。