阳光男孩黄天阔（彭于晏 饰）的父母经营着一家便当店，某天，他在为听障游泳队送便当时邂逅了清纯美丽的姐妹花——小朋（陈妍希 饰）和秧秧（陈意涵 饰）。姐妹俩的父亲是一名传教士，常年在非洲工作。为了保障姐姐顺利参加听障奥运会，秧秧担负起赚取家用的重任。她每日来去匆匆，辛苦打着几份工。本身即掌握手语的天阔自然而然融入了姐妹俩的生活当中，为了接近心仪的秧秧，他时常在体育馆门口做生意，还费尽心思为秧秧制作爱心便当。相识时间虽短，却让两个年轻人的心越走越近。然而某次约会中，一个小小的误会阻断了他们的交往，与此同时，小朋也遭遇了一场灾难……©豆瓣
InthefrozenwoodsofanisolatedMaineloggingtown,onewoman’stragicmistakeshattersthebalanceofthecommunity,resultinginprofoundandunexpectedconsequences.Weavingtogetherseveralconnectedstorylines,BLUEBIRDexplorestheprofoundandtranscendenteffectsofatragedyonanisolatedAmericantown.
将故事背景设置在抗战胜利前的民国年间，主要讲述由倪新宇饰演的刘少彦与同伴为探寻一桩命案真相而被卷入神秘诡谲的地下室，在那里他们经历了一系列难以抵抗的灵异事件。
伪物语是伪物的物语(伪即不真实，不成熟，虚伪的)。历和女友战场原是伪物；历的两个妹妹火怜和月火是伪物；欺诈师贝木等也是伪物。而相对的，羽川是个非常强大的真物。伪物语中的怪异都与历的妹妹扯上了关系，引发了一系列的事件。
《梦想光荣1942》是一部战争喜剧，是根据解放军文艺出版社出版、被誉为“平民亮剑”的谢颐丰的长篇小说《气血飞扬》改编而成的。 太平洋战争爆发前，日本军事力量加强了对中国战场的扫荡和反扑。我抗日根据地民主政府实施战略转移的当口，鬼子扫荡的先遣队已经逼近了正在转移的我谷山监狱，其目的是要营救隐藏在犯人中的一个“中国通”日本奸细酒井，拿到支持大扫荡的秘密藏粮图。在转移的最后关头，各怀鬼胎的犯人却正在想办法逃跑。因偷了地主家粮食被判3个月劳动教育的“爱忽悠”梁满贵，闹着要回村看看自己的相好是不是被调戏了。调任到谷山监狱的战士“一根筋”马大壮奉命押着梁满贵回村，刚到村口却无意中诈出了其他犯人想逃跑的急情，急忙调头将梁满贵押回监狱。路上，马大壮又突然发现鬼子战马新鲜的马粪，惊呼糟了！ 马大壮赶回监狱，正撞上鬼子先遣队的偷袭和犯人逃跑。一场激战过后，监狱长和管教为掩护犯人一个个倒下，犯人们则在大乱中作鸟兽散。 监狱长杨明壮烈牺牲，临终前嘱托马大壮要把犯人一个不能少的找回来，然后指着墙上的标语“好好改造重新做人”闭上了眼睛。马大壮临危受命，而梁满贵对监狱长为保护自己而牺牲也深怀感恩，加上梁满贵的未婚妻，一向积极参与抗日斗争的赵冬梅的支持，三人共同担负起了这项光荣任务。 日寇也在寻找逃犯的下落，队长松本下命令，为确保找到地图，犯人要全部抓到。 犯人们东躲西藏，却又各人有各人未了的心愿。红秀一心要找到自己挚爱的丈夫，为了丈夫甘愿重回青楼；鬼不理想方设法要认祖归宗，确认自己的贵族血统；小耗子只想和相好的小白菜生个娃娃，和和美美的过日子；小彪子满脑子想的是回二龙山继承已故父亲的寨主称号；赌三的唯一心愿是赢回被自己输掉的祖宅…… 一边是马大壮的抓捕，一边是日本人的围追，马大壮怎样寻找、感动、感召他们，并带领他们虎口脱险？他们的命运经历了怎样的大逆转？他们的人格经历了怎样的大提升？一众草根最终怎样从卑微走向崇高，成为大写的人？ 《梦想光荣1942》献给每个有梦想、渴望荣光的人！
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.
影片讲述在大学校园中青年男女之间的情感关系发展的故事
独角兽掌管着世界的光明，为了让黑暗重新笼罩，魔王（蒂姆·克里 Tim Curry 饰）一直都在进行着独角兽的猎杀行动。莉莉（米娅·萨拉 Mia Sara 饰）是懵懂而又天真的公主，一次偶然中，她闯入了一片森林里，在那里，莉莉邂逅了身份神秘的杰克（汤姆·克鲁斯 Tom Cruise 饰），很快，两颗孤独的心渐渐贴在了一起。 在杰克的带领之下，莉莉见到了世界上最后两只独角兽，杰克告诫莉莉只可以用眼睛看，千万不可以触碰独角兽，可是，莉莉没能经受的起独角兽魅力的诱惑，最终还是伸手触碰。这让魔王得到了机会，他杀死了其中的一头独角兽，并且掠走了莉莉和剩下的另一头独角兽，为了拯救世界，杰克向森林里的精灵寻求帮助。
故事讲述一个男人寻找自己走失的狗狗，在这个过程中他遇到了慕男狂披萨快送女、一个热爱慢跑的邻居以及一件神秘的怪事……如果你看过《橡皮轮胎》绝对不难想象这部《全错了》的调子，奇怪的电子乐，钟表上7：60的时间，还有每个人不停的问“Why”，充满了神经质的快感。
曾经在黑道中呼风唤雨的发哥（吴镇宇 饰）在挨过了漫漫十六年的牢狱之灾后终于重获自由，然而，刚刚出狱没多久，发哥便决定着手实施他在狱中早已经设计好的惊天劫案。于是，机械高手丧宝（任达华 饰）、造型师杜公子（谭耀文 饰）、飞车辣手林东（郑浩南 饰），这些昔日弟兄们重新聚首，将目标放到了一辆运送黑钱的运尸车上。 徐安良（古巨基 饰）是一名警员，恪尽职守的他敏感地发现了发哥的计划，尽管没有得到上级的批准，但他还是决定依靠自己的力量将这一帮犯罪分子们一网打尽。就在情势越来越紧张之时，一帮悍匪加入了战局，成为了发哥一行人的“竞争对手”，复杂的情境之下，究竟谁会是最后的赢家呢？
1960年代初，胶东某地。小麦的丰收引起了大家对余粮处理的议论，支书赵五婶（王玉梅饰）有着自己的主张。粮食的丰收固然有广大社员付出的汗水，但与上级领导的关心和国家方方面面的支援也无不关系。她主张多卖余粮支援国家。大队长、老伴赵大川（郭殿昌饰）却有自己的小九九，在别人的煽动下，他想用余粮换牲口以增加集体财产。副大队长王宝山（高如平饰）是大川的支持者，他们未经五婶同意，私自用大车拉粮赶集换牲口，车被闻讯赶到的民兵队长赵洪奎（邵力饰）截了回去，双方发生僵持。五婶带领部分党员和积极分子赶到现场，制止了这一错误行为，在号开的支部会上，看到王老四（刘子云饰）等人投机倒把的材料，大川才知道自己被坏人利用了......