6个逃跑的囚犯和他们的女人质铤而走险的逃往墨西哥边境，在亚利桑那州的沙漠上他们偶然碰见了传说中遗失的财宝并发现了某种可怕的死亡（有关7个木乃伊的秘密）
5岁的女孩丽洛一直梦想养一只宠物狗，这天她终于得偿所愿，在姐姐的帮助下收养了一只流浪小狗，并帮他取名史迪。其实史迪并不是什么流浪狗，他是外太空的危险分子，长有六条腿，在流放中偷跑到了地球。为了隐瞒身份，史迪一直将他的另外两只脚藏起来，外表和其他的小狗一样。在朝夕相处中，史迪和丽洛慢慢建立了深厚的感情。然而此时，追捕史迪的外星人发现了史迪藏身地球，为了逼他就范，他们绑架了丽洛。为了救回好朋友，史迪决定尽力一拼！
A look at the relationship between big cats in the wild and our domestic pussycats, and the feline species' journey from hunters of the wild to household pets.
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.
亚瑟（海纳·劳特尔巴赫 Heiner Lauterbach 饰）、卡雷（于尔根·福格尔 Jürgen Vogel 饰）和尤瑟夫（Hilmi S?zer 饰）是三个性格迥异的男人，如果硬要说他们有什么共同点的话，那就是他们各自都有一个女儿，并且还是爱上了渣男的不省心的女儿。 安东尼娅（亚妮娜·乌泽 Janina Uhse 饰）在婚礼临近举行的时候爱上了一个毫无前途的政治运动家，为了和他在一起，不惜推掉了自己的婚事。露娜（丽莎 Lisa 饰）爱上了一名摄影师，可这名摄影师是专门拍摄裸体的裸体摄影师。苏菲（丽萨·波特霍夫 Lisa Potthoff 饰）年纪最小，可还在念书的她竟然爱上了一名毒贩。因为这共同点，三个男人一拍即合，准备展开他们的劝分行动。
11月30日 22-23赛季NBA常规赛 尼克斯VS活塞
2009年，年轻女孩纱崎咲良（芳根京子 饰）被人残忍杀害，该事件令她的姐姐玲奈（北川景子 饰）痛不欲生。在遇害之前，咲良为躲避跟踪狂的骚扰曾秘密搬到亲戚家居住，可是某个不良侦探受跟踪狂之托查到了女孩的现居地，由此引发了血腥惨案。为了揪出这个被称为“死神”的侦探，玲奈拜入 须磨康臣（井浦新 饰）的门下请求接受侦探培训，出于某种目的，须磨不仅最终答应了玲奈的请求，之后更专门为她成立了一个“反侦探课”。在追查某起案件时玲奈对上了阴冷的知名侦探阿比留（中山裕介 饰），他似乎正是妹妹遇害一案的重要关系者。而被须磨分配到反侦探课的新社员峰森琴叶（川口春奈 饰）又与玲奈有着千丝万缕的关系…… 本片根据松冈圭佑的同名原作改编。
7月16日 2022NBA夏季联赛 快船VS爵士
春节假期的夜晚，市中心的酒吧一条街繁华喧嚣，香港电影明星吾先生走出酒吧就被冒充警察的张华一伙人持枪绑架到一个与世隔绝的郊外小院里。吾先生意外发现绑匪还绑架了另外一个人质小窦经过与张华的一番谈判，吾先生将小窦从死亡线拉回。两人开始了争取生机并相依为命的惊险20小时。 接到报案的警方迅速组织最强警力，刑警队长刑峰和曹刚联手展开侦破工作。但狡猾狂妄的绑匪张华有很强的反侦察能力，对同伙和人质也都不讲规矩，单独出门与吾先生的好友交收赎款。但是他在取得赎金之际交代同伙到晚上九点，无论能不能拿到赎金都要将人质杀害。 经过几番侦查和对抗，警方掌握了张华的行踪，邢峰和曹刚精准配合，在极度危险的情况下将张华抓获。此事离绑匪约定好的撕票时间还剩下两个小时。深夜九点即将到来，邢峰和曹刚再次联手与垂
山奥にある“少林寺”で門下生と共に修行に励んでいた美代子は、“一本足”と名乗る女武術使いとの戦いに敗れ、少林寺を奪われてしまう。都会でショー芸人に身を落とした彼女は人並みの幸せを手に入れて闘争心を失いかけるが、やがて果たすべき闘いを思い出し……。バラエティ番組「ダウンタウンのガキの使いやあらへんで!!」で強烈な存在感を放っている浅見千代子が最強の老女に扮する異色カンフー?コメディ。共演にダチョウ倶楽部の上島竜兵。
兄弟失散，相见后却行同陌路。两个自幼相依为命的兄弟，哥哥被黑道老大领养，一心想把他培养成自己的接班人。弟弟在孤儿院长大，成了警界精英。为了追查跨国诱拐女子一案，弟弟成了卧底，打入黑帮内部。此时，哥哥已经正式接手老大的位置。