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1935 年，美籍匈牙利准心理学家南多-福多开始调查马恩岛上发生的一件怪事。一个普通的英国家庭，欧文一家，声称在他们的农场里有一个神秘的实体与他们联系。一只会说话的猫鼬，名叫 Gef（发音为 "杰夫"）。
内详
尼克·卡西迪（萨姆·沃辛顿 Sam Worthington 饰）曾经是一名正直负责的警察，却因涉嫌盗窃4000万美元的钻石而获刑25年监禁。他唯一一个离开监狱的机会就是参加父亲葬礼，并在葬礼上趁机逃跑。然而令人不解的是，他并没有出境，而是到曼哈顿酒店开了个24楼的房间，精心擦洗一番后，只为在最繁华的纽约的注视中坠楼。他的举动很快引来了大批警察和媒体，一名年轻的谈判专家莉迪亚（伊丽莎白·班克斯 Elizabeth Banks 饰）试图将其劝回屋内，然而在循序渐进的劝说中，莉迪亚意识到尼克是被钻石的拥有者大卫（艾德·哈里斯 Ed Harris 饰）陷害入狱的，目的则是为了高额保险金。然而更令莉迪亚想不到的是，尼克的自杀只是一个声东击西的幌子，他的弟弟和女友正在街对面的珠宝库大楼中实施复仇计划……
一部轻喜剧的都市爱情题材电影,通过一个帮别人完成恋爱梦想的男青年寻觅爱情的经过,阐述现代社会青年男女的爱情观。戏里的男主角似乎有特异功能,每一个和他分手的女孩,都能迅速找到爱人并结婚,似乎有某种诅咒一样。在《爱情诅咒》里面演女二号董欣的裴紫绮坦言,其实缘分与诅咒无关,其实就是分手之后更懂得珍惜了,心态转变之后,再遇到对的人就容易走到一起,说到底,就是“对的时间遇到对的人”。
马克・罗斯曼执导的本片，讲述警员卡会纳在执行任务之时，不幸惨遭枪击，生命危在旦夕。怎料，已故警员德辉竟利用亡灵缠身，令卡迅速康复，并产生不可思议的神奇力量。他通过这股力量追查杀德之凶，经过抽丝剥茧后终于发现卡的本来面目。本片是一部鬼片，与香港鬼片的模式大同小异，但总体看来还是算拍摄比较成功的。.
根据HBO大热剧集《黑道家族》改编的电影将问世，新线正在打造该剧前传电影[纽瓦克圣人](TheManySaintsofNewark，暂译)。原剧编剧兼监制大卫·切斯及编剧劳伦斯·康纳尔操刀新片剧本，大卫·切斯任制片。影片故事背景设定在上世纪60年代纽瓦克暴力活动猖獗地带，黑帮争斗频发。该剧于1999年至2007年播出，共六季，获21项艾美奖、5项金球奖。原剧主演詹姆斯·甘多菲尼、弗兰克·文森特相继于2013年、去年去世。据悉原剧中多个粉丝熟悉的形象将现身大银幕。
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.
經理白浩出差代表社長接手汽車旅館運營。當一位女同事的房子出現問題時，她讓她的妹妹月荷住在汽車旅館裏。白虎對他不小心得到的 Wolha 的内褲感到興奮，Wolha 發現了這件事...... 年輕男女經營汽車旅館的故事
? ?? ??? ?? ? ??..! ??? ? ? ?? ? `??`(???)? ??? ???? ?? ???? ???, ??? ?? ???? ?? ??? ??? ??? ?? ?? ???, ?? ???? ???? ??. ??? ??? ?? ????? `??`(???)? ??? ?? ? ?? ??? ??? ?? ????, ? ? ?? ???? ?? ? ???? ??? ?? ???…
人类持续破坏环境，是时候动物们该站出来捍卫生存权益…… 看似平凡的亚当，和雪丽（母亲）、大脚怪（父亲）以及他们的朋友伟波（大灰熊）、蒂娜（松鼠）、崔波（浣熊）一家人，这个非凡的大家庭一起在森林里定居。没想到随着大脚怪父亲越来越有名，父亲也利用名气尝试改变世界。某天动保团 体与父亲联系，打算一起阻止石油公司开发并污染动物的生存环境，没想到父亲在一次追查真相的过程中竟然莫名失踪了！亚当和他的动物家人们，决定联手找出大脚怪父亲的下落，同时透过社群媒体试图揭发石油公司的邪恶阴谋，他们一家人还有机会再次团聚吗？
Pete, a handsome businessman was ordered by his grandmother to go look for her missing heir. Due to an inevitable circumstance, Pete was forced to hire a kid to pretend to be his grandmother’s lost grandson. Chaos over this scheme then began…