九色鹿王·前尘

简介：作为党的十九大献礼影片，积极响应“没有全民健康，就没有全面小康”的号召，怀着满满诚意讲述“白衣天使”播种大爱的故事，急诊科主任医师潘峰（保剑锋 饰），外表严谨不苟言笑，但内心温热，有一个炽热的“医者仁心”。“只要有百分之一的希望，我们就要付出百分之百的努力”这是暖心医师潘峰最长挂在嘴边的一句话。

简介：一部由两个故事架构而成的电影，两个故事分别发生在大城市和小城镇，两群正值青春期的孩子在各自的生活环境中寻找着自己青春的出口，他们的故事看上去并没有直接的逻辑关系，但是他们的命运却在隐隐中相互牵连影响着。青春就像一次旅行，两个城市的孩子都在自己的轨迹去进行着自己的旅程，他们迷惑、压抑、找不到方向，但是他们却一直紧携着手里的地图，期待着有一天可以把它在生命中摊开……

简介：本片根据真实案件改编。阿尔弗雷德·弗雷迪（安东尼·霍普金斯 Anthony Hopkins 饰）是世界著名啤酒巨头喜力啤酒的总裁，他因喜力啤酒而世界闻名。但是在1983年的三周里，他却因为另一事件闻名。因为在11月初，他遭到了绑架，并且和他的司机做了三个礼拜的人质。

简介：丈夫杰马尔丢下自己和有心脏病的儿子出国去了罗马尼亚，艾米奈面对孩子昂贵的手术费不知如何是好。一直对艾米奈有爱慕之情的杰马尔前任老板齐亚给予了她极大的帮助，孩子活了下来。怀着感激的之心，艾米奈与齐亚发生了婚外情，此时丈夫却回来了。面对既是救自己孩子的恩人，又是给自己戴绿帽子的前任老板，杰马尔会何去何从呢？

简介：民国初年的天津，社会动荡不安。深夜，青蛇帮帮主宁飞鸿刚从藏有军火和烟土的地下室出来，就被一蒙面人用刀拦住，幸有宁飞鸿侄子华云吾的挡驾。蒙面人是鼓宣的女儿娇妹，她是为报杀父之仇而来，娇妹的未婚夫是翠姑的儿子海龙。当年因宁飞鸿嫉妒翠姑爱大师兄鼓宣，而将鼓宣杀死，并强奸了翠姑，不久，翠生下海龙。翠姑含辛茹苦地将娇妹和海龙抚养成人。娇妹为报父仇，女扮装只身进城，牵马走过裕德楼，而引起路过此地的常义和华云吾的疑心，他们追了上去，并对拦路的小摊贩大打出手。这些被闻讯追到城里寻找妹妹的海龙看到，海龙痛打常义。海龙的功夫被正带着女儿天凤吃饭的宁飞鸿看到，他将海龙请到宁府，聘他做家丁教头，天凤请他做自己的保镖。这使华云吾非常妒忌。不久，娇妹装扮成乡下姑娘来到宁府做女佣，被华云吾看上，正当华云吾欲对娇妹无理时，海龙借机救下娇妹。当晚，海龙陪天凤去舞场，在回来的途中，遭人暗算，并巧遇华云吾，翠姑领乡亲们救下海龙，杀退敌人。天凤见海龙安全归来，十分惊喜，她从海龙手中接过刻有宁字样的匕首，顿时明白是华云吾怕海龙成了宁家的女婿，才派人暗杀海龙的。当晚，海龙在去刺杀宁飞鸿时，与妹妹相遇，双双落入陷阱，娇妹让海龙将她捆住，以免两人同时落难。宁飞鸿奖赏了海龙，命华云吾干掉娇妹。当海龙听到枪声后泪水长流，这一夜被宁飞鸿看到眼里，宁飞鸿要海龙说出主使人。华云吾在处决娇妹之前向她提出，若能拿出宁飞鸿的人头就可换回性命。娇妹回村找翠姑，翠姑等人杀进宁府，非但没有找到海龙，自己也落入敌手。当翠姑看到宁飞鸿的画像时，明白了眼前的人就是当年杀死大师兄，奸污自己的仇人。宁飞鸿也明白了一切。娇妹去救海龙，这时天凤已打开了关押海龙的地牢，华云吾拦在她的面前，天凤用身体挡住了华云吾射向海龙的子弹。娇妹、海龙一起杀了华云吾。宁飞鸿企图用父子情来感化海龙，被翠姑、海龙和娇妹击毙。

简介：英国军情六处的前特工雷（克里夫•欧文 饰）转行做了商业间谍。在酒会上，他邂逅了曾在美国中情局工作的特工克莱尔（茱莉亚•罗伯茨 饰）。不过，克莱尔却装作不认识，这勾起了他的好奇。终于，雷依靠软磨硬泡，拉克莱尔去开房。没想到，却被对方下药迷倒，还偷走了他的重要文件。原来，此时的克莱尔已经做了竞争对手公司的间谍。这令如梦初醒的雷非常愤怒。在一次接头任务中，雷再次见到克莱尔的身影，于是不顾命令，拦住了她，结果他意外发现她恰恰就是接头人。虽然因为他的鲁莽，这场碰头不欢而散，但是这两人的纠缠却并未结束，因为他们先后卷入了两家竞争公司的明争暗斗之中，为了窃取商业情报，两人大打出手，互相斗法，并在其中擦出了爱情的火花……

简介：阿Mi（郑秀文饰）的爸爸开了一间小小的煤气店，所以她需要帮助父亲打理生意，每天都要扛着重重煤气罐送货。看着流星滑过，许愿能嫁个有钱人，突然从天上掉下来一本叫《玻璃鞋》的书。原本并不富裕的阿Mi决定乘坐头等机舱希望能在飞往米兰的时候遇上有钱男子，遇到了学识渊博的富家子弟阿诞（任贤齐饰），两人在米兰共渡了一段浪漫时光，可是阿诞突然就失踪了。　　阿Mi很不甘心，决定要把阿诞找回来。阿Mi感到沮丧的时候，她的一个老朋友如今是城中的钻石王老五，并且找回阿Mi是决定跟她求婚的，可是阿Mi已经爱上了偶遇的阿诞。　　但她却不知道，其实阿诞也有不可告人的秘密。

简介：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.

简介：Vacation turns disaster when Houston grad, Kyle and her friends escape a plane crash in the desolate Louisiana everglades, only to discover there's something way more dangerous lurking in the shallows.

简介：在马其顿，战争中的波斯尼亚，东正教的一位年轻修士以沉默保护一位年轻女孩，这位阿尔巴尼亚女孩涉嫌杀害一位东正教徒。但其实只是误会。修士以自己的善良决定与女孩私奔。　　在伦敦，一位摄影记者（凯特琳·卡特利吉 Katrin Cartlidge 饰）在餐馆与她的丈夫谈论感情变淡的问题，二人争吵激烈之时，一名种族主义者冲入餐馆开枪扫射。爱，在生死之间突然变得清晰。　　一位离开好友的摄影记者（拉德·舍博德兹加 Rade Serbedzija 饰）从伦敦出发，回到16年没来的老家马其顿。这里有他的老朋友，他的东正教朋友们，还有与阿尔巴尼亚人的种族矛盾。摄影记者尝试通过和解的方式化解纷争，但是，这一切远没有他想象的那么简单。　　“圆圈不是一个圆。”三段相互交错的故事，不同文化、宗教、民族的误会造成的悲剧。

简介：“沉水入火，九霄琴出；当今之世，谁敢争锋。”是江湖中流传了百年的名言。传闻得九霄琴者可一统江湖，号令天下。可是却鲜有人知，这背后其实还有一句预言，那就是——“逆天犯顺，浩劫难当；欲要平治，祭琴舍身。”

简介：网络电影《星际高手》由李翰韬导演，讲述了一个学渣回头金不换，摇身一变成学霸的故事，即将在优酷上映。一碗牛肉汤将引发怎样的“血案”？敬请期待。