特里（约翰·特拉沃尔塔 John Travolta 饰）是一名电影录音师，专门为小成本恐怖片录制音效。一次工作中，特里发现自己阴差阳错之中录下了一辆车掉入水中的声响。震惊之下，特里来到了事故现场，在打捞车辆的过程中，特里惊讶的发现车中一名名叫莎莉（南茜·艾伦 Nancy Allen 饰）的女子竟然奇迹般的还活着。醒来后，莎莉告诉特里，整个车祸事件并非表面上看起来的那样简单，其中隐藏了一个惊天的政治阴谋。 突然之间，特里发现自己被卷入了十分危险的事件中去，来自某个神秘人物的追杀更加让他下定了要追查到底的决心。他知道，真相永远隐藏在巨大的权利背后，而自己随时都面临着生命危险，在这样动荡的环境下，能够相信的只有自己。
江湖上传出消息，巡抚海刚峰辞官归里，所携箱箧中珠宝价值连城，于是引起了一些歹人的觊觎。高家店店主高山峰、其姘妇邓三娘，以及数帮黑道人物，均于高家店埋伏，准备等待海刚峰经过之时伺机下手……
Marisol找到新情人，但她的新爱情真的如此理想吗？与此同时，Peri想方设法拆散Rosie和Spence，在两人之间制造矛盾。Zoila发现Valentina已经从非洲归来。Carmen和Alejandro尝试适应他们的虚假关系，至少在外人面前要把这场戏演下去。Odessa已经达到极限。Adrian和Evelyn雇佣了一个英俊的新保镖。
一名寻求刺激的女孩想要参加自行车越野赛，可妈妈不让，怎么办呢？那就雇一名对凡事都不在乎的演员来扮演有求必应的老爸吧
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.
幽默风趣的爱情喜剧，三个年青医生常开道（刘陆华）、史瑞科（刘尚谦）、萧而可（李修贤）被安排追求院长的三个女儿——唐玲珍（萧瑶）、唐玲珊（陈思佳）、唐玲玲（妞妞）。三人以「剪刀、石头、布」的猜拳方式来决定追求对象。各出奇谋，碰到一鼻子灰，鸳鸯错配，于是再重新分配，依然是乌龙百出。喜剧中的追女桥段层出不穷，用尽英雄救美、苦肉计、死缠烂打等爱情药方，却全部失灵。三人焦头烂额，重整旗鼓，与敌展开爱人争夺战。最后，他们都找到真正的爱情妙方，勇取芳心，就是……
性欲满足、婚姻关系与婚外伴侣，外加金钱、权力和尊重，在这部生猛辛辣的喜剧特辑中，黄阿丽替女性仗义执言，说出她们关于欲望的心声。
基于约翰·格林(《星运里的错》《纸镇》)所著同名青少年小说，讲述来自佛罗里达州的少年Miles "Pudge" Halter(普拉默)在阿拉巴马州一所著名的寄宿学校就读，希望能找到对生活更深刻的看法，但他发现Culver Creek Academy和他以前的高中没有什么不同，除了一群马上就接纳他的异类。这群人中包括Alaska Young(弗劳赛斯)，她善变，不可预测，立刻对Miles产生了吸引力。Alaska还隐藏了一段不愉快的过去，当她意外去世后，Miles和他的朋友们试图弄清楚发生了什么。
王明轩（贾乃亮 饰）和蒋新瑶（白百何 饰）上大学时爱得死去活来，他们坚信爱情至上，一毕业不顾家中反对仓促举行婚礼。但不久就发现婚姻生活并不只有浪漫，经常为柴米油盐的小事争吵。 艺术青年文浩（是安 饰）和“白骨精”赵亚彤（高露 饰）一时冲动之下闪婚加隐婚，文浩却一直得不到赵亚彤母亲的认可，两人的婚姻一路磕磕绊绊。 为“赚父亲的钱”而被迫结婚的富二代黎昕（郑恺 饰）娶了并不喜欢的张小凡（李小萌 饰）。一场奢华的结婚典礼，黎昕净赚五十万，和一套房子两部车。婚后黎昕依旧我行我素拈花惹草，终于令张小凡忍无可忍，婚姻也濒临破碎。 在这物欲横流的今天，是追求爱情？还是面对现实？三对年轻人在生活的风雨中走过，变得更加坚强、成熟。
桃姐（叶德娴 饰）是侍候了李家数十年的老佣人，把第二代的少爷罗杰（刘德华 饰）抚养成人。罗杰从事电影制片人，五十多岁了仍然独身，而桃姐也继续照顾罗杰，成为习惯……一日，桃姐如常到街市买菜，回寓所煲汤、做好满桌的饭菜，在等待从内地出差回家的罗杰，桃姐看着窗外的街景打发时间 ，不知不觉间却竟昏迷在地上……桃姐醒来时发现自己身在医院，桃姐是中风了！一边手臂不能活动自如，必须利用物理治疗尽量恢复活动能力。 罗杰在百忙工作中为桃姐找合适老人院，期间巧遇昔日电影拍摄认识的草蜢哥（黄秋生 饰），桃姐出院来到老人院，环境陌生，院友怪异，桃姐强装镇定。罗杰工余常到老人院探桃姐，主仆闲话家常一如母子，仍保持互相揶揄调侃习惯，桃姐嘴硬心甜，院友羡慕。 罗杰特意带桃姐参加电影首映礼，桃姐首次刻意打扮准备，取收藏已久的名贵衣服出发赴会；首映礼上桃姐大开眼界，更终有机会见到电影...
4月16日 21-22赛季意甲第33轮 乌迪内斯VS恩波利