警察也有家

　　A recently retired English professor discovers a real knack for investigation and cannot help but interfere with the cases assigned to her police detective son.

Tom Sizemore plays Jack Durant, a dynamic and dangerous gentleman who runs the most famous steakhouse in the city. He caters to movie stars, politicians and mobsters. He knows all their secrets but does anyone really know the man they call Jack Durant?

绰号眼镜蛇的干探哥比提经常独行独断，一手持轻机枪，一手持点45，以自己的戒律对付无法无天的贼匪。这次哥比提正在追捕一个凶残的连环杀手，又要保证一个被下令灭口的女证人，令他疲于奔命。

《圣诞夜恋人》孤傲自我的广告公司负责人黑山和树（玉木宏 饰）误将失意的小演员佐佐木玲子（高梨临 饰）当作为钱接近他的轻浮女人，两个原本没有交集的人就这样相遇了；《远距离恋爱》承受远距离恋爱之苦的山口雪奈（木村文乃 饰）和津村拓实（东出昌大 饰）相约圣诞夜见面，可是误会让 他们心生芥蒂；《圣诞节的勇气》在蛋糕店打工的女孩大友菜摘（本田翼 饰）无法鼓起勇气追寻爱情，老板大岛琴子（倍赏千恵子 饰）为她讲述了自己年轻时候的恋爱故事；《圣诞礼物》孤儿院的小女孩寺井茜（甲斐惠美利 饰）绝不承认自己是没人要的孩子，她执着地等待妈妈的到来；《二分之一的成人式》资深新干线驾驶员宮崎正行（时任三郎 饰）身染绝症，不久他将参加10岁儿子的“二分之一成人式”，他的心中百感交集；《迟来的会面》圣诞夜，琴子终于等来了那个49年前爽约男子的消息…… 　　本片为东京车站开业一百周年纪念作品。

秋叶原，宅男云集的电玩胜地。担任漫画咖啡厅店长的椛岛（柳浩太郎 饰）是一个羞涩内向的男孩，他迷上了在女仆咖啡厅工作的小莓（亚矢乃 饰），然而对方却完全不知道他的存在。小莓生日当天，椛岛特意在店外等待。他原本想送上自己精心制作的生日礼物，却被小莓误认作坏人，双方发生撕扯。当小莓从昏迷中苏醒时，发现自己被绑在一间阴暗的屋子内。椛岛并不想伤害小莓，他只希望和心仪的女孩在密闭的空间内，长久生活在一起…… 　　本片根据著名演员松田优作的遗孀松田智子的原著《女子高校生誘拐飼育事件》改编，系“完全饲育系列”的第7部作品，由深作欣二之子深作健太执导。

1955年，埃及首都开罗。落寞的法老王家庭后代想夺回他们的王位，秘密的宗教组织K想操纵政府。法国总统也派来了自家的密探117来趟混水。荒唐无稽的事情层出不穷。 　　英国有个邦德007，法国则出了个特工117。而且这个117早在1949年就活跃在银幕上了，比第一部邦德还早4年。不过这个117的长处是搞笑而不是枪战和特殊武器。影片整体格调轻松、诙谐，很有法国风味。男主角十足的50年代的语言、表情、动作都让人发笑，甚至有打了发胶的溜光的头发！当然也缺不了女间谍，她们不像邦德女郎那样火辣身材但是一言一行都优雅风趣。 　　你是不是已经对于百战百胜的邦德和他的女郎们有点厌倦了，那不如让我们一起感受一下法国式的自嘲吧。 　　导演介绍： 　　法国导演、演员、编剧，曾经演出了2001年《人人都爱我老婆》，担任2004年《达尔顿兄弟》的编剧。1999年导演了《Mes amis》。 　　幕后花絮： 　　东京电影节评委会将电影节最高奖项——金麒麟奖——颁给法国喜剧影片《OSS117之开罗谍影》(OSS 117 Cairo Nest of Spies)，并获得10万美元奖金。这部影片由法国喜剧明星让·杜雅赫丹(Jean Dujardin)。它的获奖被普遍认为是本届电影节上爆出的一个冷门，即便是影片的导演迈克尔·哈扎纳维希乌斯(Michel Hazanavicius)也是如此认为。他在新闻发布会上表示：“喜剧获得任何一个奖项都极为罕见，更何况是电影节的最高奖项了。我对我们能获此殊荣吃惊不已，我觉得非常、非常荣幸。” 　　这部间谍电影混合了法式讽刺和故意为之的智慧把法国喜剧的精神再次展现在世人面前。曾经风靡50-60年代的OSS间谍系列在今天还有一大批铁杆粉丝。系列中新作邀请了出演过《押运人》和《劳斯一家》等诸多影视作品的法国影星Jean Dujardin 扮演间谍。本片在法国上映期间大获好评，一度复活了处于谷底的法国电影工业。OOS间谍出场和007有着几份雷同，可007背后有强大的科技力量相比， OOS117却连装备也是自己亲手秘密研制。

县城赌坊连日热闹，因为来了一名逢赌必赢的少年阿天。某日一名俊俏的公子要和阿天比试赌技。俏公子不敌赌气离开。赢钱的阿天到妓院寻欢，俏公子突然窜出劈刀砍向阿天被阿天轻易躲过。俏公子是个女孩叫阿香，她好奇阿天逢赌必赢，原来阿天在星云大师门下学武有一双鬼眼

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.

生活在农村的德克萨斯州狭长地带，是一个不正常的家庭：虐待的爸爸，一个越南的兽医与一个战争的伤口，在离开他的无能;一个兼容的妻子和儿子约20，谁拥有的乱论关系在爸爸的坚持;和两个小儿子看起来很像他们的兄弟。爸爸藏着一个秘密，他去杀气长度来掩盖它。小伙子，吉米，谁睡在棚子里，有怀疑，但很少出来，直到一扬中年女人来到小镇寻找一个死的私家侦探。为什么爸爸保持致电吉米，;蓝色的小男孩 ;吗？

亚历克斯·帕蒂弗(《关键第四号》《魔力麦克》)、夏洛特·勒·邦(《云中行走》《伊夫圣罗兰传》)加盟科幻新片《警告》(Warning)，詹姆斯·达西、劳拉·哈里尔、梅纳·马苏德(《阿拉丁》)参演，艺术家Agata Alexander献出电影长片导演首秀，并与Rob Michaelson、Jason Kaye编写剧本，冬季罗马尼亚开拍。 　　该片风格类似《黑镜》，设定在不远的将来的地球上，探讨当截然不同的生活发生碰撞时，孤独、死亡和生命的意义。

改编自好莱坞电影《驳命来电》(Cellular)。这天和平日一样，身为工程师的单身妈妈Grace（徐熙媛 饰）拼命工作几乎通宵，次日送女儿婷婷上学。途中被霍德能（刘烨 饰）故意猛撞车身，Grace当场昏迷，醒来后发现已置身于一个密闭的货柜内。昏迷时她看见霍德能对她家大肆搜索并且杀害女佣，醒来后更被追问东西藏在何处。一无所知的Grace毫无办法，在悍匪离开后竭力地把一台损毁的电话接线，拨出给财务公司的阿邦（古天乐 饰）。阿邦面对Grace的苦苦哀求，随手把手机给交警辉Sir（张家辉 饰），由于听不清Grace的说话，辉警告阿邦别再胡闹。阿邦听到手机内枪声后意识到事态严重，决定帮助Grace。眼下第一件事就是拦截悍匪，他们正在前往学校企图带走婷婷以作威胁。悍匪第二个目标是找到Grace弟弟，他们相信他们的犯罪证据就在她弟弟手上。一路上阿邦被误认为劫匪，被警察追逐，陷入困局的他惊讶地发现霍德能一行人竟然是国际刑警，他只有凭着保持通话独力营救，辉Sir的出现也让事情有了一丝转机。©豆瓣

故事設定在《CODE GEASS 反叛的魯路修》的四年後 　　講述了兩名以高超的武藝廣為人知的傭兵，亞修和羅瑟的故事

胡维民带着妻子安美丽一起走进了明德大酒店。他们准备去安美丽位于扬州的老家去继承安美丽父亲留下的一大笔遗产。但是路上汽车出了故障，抛锚在了距离扬州并不遥远的宁城里。夜深了，所以他们决定先行住下。但是第二天胡维民修车回来后发现妻子安美丽连其行李都不见踪影，一开始胡维民并没有在意，以为她一会就回来了，但是过了一天了，也没见妻子的踪影，于是他到楼下问服务员妻子的事情，打算报警，但是前台服务员告诉他从未见过他妻子来入住，这让胡维民很是惊讶，于是向巡捕房报案，伍士德通过一系列的调查取证，最终找出凶手、绳之以法！

暂无简介

冯金（王岗饰）来到了天下镖局，花重金聘请王振威（周群达饰）保镖，而他需要保护的人正是冯金的干女儿沈飞燕（吴晓敏饰）。沈飞燕的父亲沈荣（姬麒麟饰）发现王振威所使出的招式正是他苦苦追寻了几十年的“霸王追魂枪”，于是邀请王振威的父亲王兆兴（姜大卫饰）来府上一聚。哪知道两人之前有着牵扯不清的恩恩怨怨，一言不合竟然相约在十里坡比试武艺。比武当日，沈荣倒在了王兆兴的追魂枪下，而令王兆兴感到疑惑的是，自己的枪并未此中沈荣，这也就意味着有人从中作梗，借刀杀人。王振威掩护父亲离开，自己却缴械投降，因为他深信为人正直的父亲不可能干出此事，王振威被投入了大牢，所幸得到沈飞燕的搭救重获自由，就此展开了对于事件真相的调查。