小猪宝贝2：小猪进城

刚田猛男（铃木亮平饰）人如其名，是一名拥有两米身高而两百斤体重的魁梧高中生。在学校里，猛男深受社团后背的信赖，是后辈们心目中不可撼动的偶像，可在女孩子眼里，样貌狰狞凶恶的猛男，无意是噩梦般的存在，任谁被他看上一眼就会感觉背后发冷。猛男的身边总是存在着一个非常不和谐的身影，那就是猛男从幼儿园开始就在一起玩耍的青梅竹马砂川诚（坂口健太郎饰），砂川诚是一位标准的美男子，一个粗犷一个俊美，两人成为校园中一道奇异的风景线。而砂川诚屡屡拒绝女生的告白不为别的，只因为她们都在背后说过猛男的坏话。某日，猛男遇见了名为大和凛子（永野芽郁饰）的女生，以为凛子也喜欢上了砂川诚的猛男决意撮合两人，却发现凛子真正的目标似乎是自己？

警官德夫正在调查一宗双重谋杀案，只有两名证人，他们也是主要嫌疑人。嫌疑犯之一，著名的作家；另一个，是年轻的家庭主妇玛雅。不同的故事，却在同一个命运之夜联系到了一起，而背后的真相也远非表面这么简单…… 　　这是一部没有歌舞也没有外挂的印度电影，只有悬疑和逻辑推理。

吉姆（克里斯·普拉特ChrisPratt饰）是阿瓦隆号飞船上的一位工薪阶层旅客，在飞船前往太空殖民地家园2号的120年旅途中，因一次意外，他从冷冻睡眠中醒来。发现自己有可能要在这艘巨船上独自度过89年，吉姆试着重新入睡，但最终只能在安置了5000个同行人员的睡眠舱中孤独生活，处于自杀边缘的吉姆绝望中孤注一掷，于是，他唤醒了一名女乘客奥罗拉（詹妮弗·劳伦斯JenniferLawrence饰），两人在相处的期间产生了爱情的火花。而当飞船的操作系统瘫痪，这对情侣面临着更大的问题，生命受到威胁的不仅仅是他们自己，也包括同行的旅伴，和航行本身。

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.

绝对罕见的加拿大华裔导演李素英所知道的限制级影片；本片是华裔女导演李素英（爸爸大陆人，妈妈香港人，出生于温哥华）继2008年《多伦多故事》后执导的第二部长片，入围2010年多伦多国际电影节非竞赛单元。 影片简介： 21岁的塞米是个自尊心很强的女生,小时候得过的一场病让她身材瘦小,于是她总穿着宽大的衣服.她披着雨衣在一家超市当卧底特工,专抓窃贼.而她老板自有一套对付贼的办法.可她却于心不忍.她还有个怕痒的毛病,在和男朋友尤金睡觉的那晚露了出来,被误为不喜欢他,性冷淡.而跟她分手.于是她不断学习*爱知识,最后他们是否能重归于好呢?

《十小福》是一部青春励志影片，讲述十个优秀的青少年如何成长，在成长中怎样的艰辛，以及遇到恶势力勇于斗争的故事。　　本片的导演齐跃是天津人，香港著名武术导演孟龙先生和齐跃认为天津的武术氛围很浓，有很多武...

弗兰西斯卡从事一项特殊工作，专门帮助已婚女人考验丈夫是否忠诚。因为自身性感火辣，已婚男人屡屡跌入陷阱。弗兰西斯卡坚信男人百分百都是混蛋，因为她有一个不堪回首的往事——她痴爱的男友忽然变成别人的新郎。

警员徐瑜昌（张孝全 饰）为调查一宗黑枪案件，只身犯险将黑帮人物庞天南之子捉拿。时值民选的最后阶段，调查局方正北与庞天南达成交易：庞天南出人行刺候选人来换回儿子无罪开释。黄营候选人吴志雄在民调中被对手田正远远甩开，普通的宣传战已无法挽回局势，但一则更大的阴谋早已在暗中筹划…… 　　庞天南义子金水（林家栋 饰）由越南返回担任杀手，但是他得到的两颗子弹却并无致命的药量，于此同时，失业退伍军人陈二同（廖启智 饰）因生计所迫，收钱在刺杀行动中扮顶罪羔羊。吴志雄在亲民巡游时计划正式启动，金水枪击吴志雄使田正阵营陷入不利局面。这场自导自演的枪击竞选秀牵涉高层利益，令负责此案的孙学仁（任达华 饰）警官与徐瑜昌倍感黑幕重重……

《再见，在也不见》讲述了三个发生在不同地域又互有关联，关于亲情、友情、爱情的三段情感故事。陈柏霖一人串连起三段故事，并诠释“最陌生的父子情”、“暧昧兄弟情”、“忘年师生恋”等多种复杂的情感纠葛。

Aug20,2015神様、過去にとぶDec18,2015狐、恋に落ちるApr20,2016神様、花嫁になるAug19,2016神様、迎えに行く

暂无简介

MAY 乃一好玩好賭的女人, 但頭腦簡單, 易信人. 有義氣, 故常三更貧五更富生活起居亂作一團. MAY 年青曾與一富家子澤楷誕下一子, 富後澤楷捨她而走, 十二年來兩母子相依為命. 麻雀館睇場對 MAY 展開追求, MAY 感難得有情郎遂與之同居.

根据日本著名文学家龙泽马琴的传奇小说《南总里见八犬传》改编。　　馆山城主里见成义之父征讨蟇田定包，蟇田之子素藤（目黑佑树 饰）及其母玉梓（夏木マリ 夏木玛丽 饰）侥幸存活，将灵魂献给恶灵，获得强大而邪恶的力量。数年后素藤带领暗黑军团杀入馆山城，将里见一族屠杀殆尽，唯成义之女静姬（药师丸博子 饰）逃脱。　　静姬于丛林中遇到犬江亲兵卫（真田广之 饰）、犬山道节（千叶真一 饰）和犬村大角（寺田农 饰）三人，从古老绘卷中得知需集结拥有仁、义、礼、智、忠、信、孝、悌八颗玉石的侠士方可打败素藤的暗黑军团。静姬四处奔走，找寻其余的“犬义士”，准备和暗黑军团展开最后一战……

据悉，克里斯蒂安·贝尔将与奥斯卡·伊萨克共同加盟主演导演特瑞·乔治（《卢旺达饭店》）的新作《ThePromise》。影片为爱情电影，剧本则由《艺伎回忆录》编剧罗宾·史威考德执笔。故事的时代背景为奥斯曼土耳其帝国的末年（1922年），而贝尔饰演的驻巴黎美国记者克里斯、伊萨克饰演的医学院学生迈克尔以及女主角安娜将上演一段缠绵悱恻的乱世三角恋。贝尔与伊萨克所饰演的角色分别代表着新世界的规则与旧世界的传统，两位演员以及他们所承载的文化符号的碰撞必将是影片的一大看点。影片将于今年秋天在欧洲南部开拍，取景地包括葡萄牙与西班牙的加纳利群岛。