圣洁地狱

小狗雷克斯是一条家喻户晓的明星犬，它在好莱坞的地位堪比一线明星，它吃着精细贵重的狗粮，被影人粉丝簇拥，终日过着养尊处优的快乐生活。然而一场意外让雷克斯无忧无虑的日子发生翻天覆地的转变，在一次拍摄中雷克斯不慎从几千米的高空坠落，而它的同伴都认为它必死无疑。事实上，雷克斯幸运地落在一辆拉载番茄的卡车上，几经辗转来到了12岁的小男孩谢恩·费伊（JoshHutcherson饰）的家中。谢恩生活在一个单亲家庭，他跟身为消防队队长的老爹克纳（BruceGreenwood饰）简直是一对斗气冤家，雷克斯的到来更使费伊热闹了几分。不久，雷克斯的才能被人发现，它成为一条名副其实的消防犬……

在政府积极铲除社会上的帮派和黑手党的时候，林金盆洗手，决心重新做人。他回到西贡与他的新婚妻子和他十几岁的女儿海琳一起静静地生活在一个贫穷的社区之中。但是过往的阴影依然缠绕着林，突然有一天他的女儿海琳失踪了，迫于无奈的林只能重出江湖，开始向以前的朋友求助，得到了自己女儿的消息，他决定孤身一人去寻找她。该片已在第73届柏林国际电影节进行小范围内部观影。

暂无简介

佛蒙特州的四个州警：队长桑尼（杰伊•钱德拉萨卡 Jay Chandrasekhar 饰）、队员迈克（史蒂夫•雷米 Steve Lemme 饰）、拉比特（艾瑞克•斯图汉斯克 Erik Stolhanske 饰）以及福斯特（保罗•索特 Paul Soter 饰）是一班不务正业的高速公路活宝，他们戏弄抽大麻的孩子，乔装后开着违章车辆飙车赌博，为了争夺路边的不明女尸案查办权利和市警打的不可开交……政府为节省开支，计划对警队裁员，这令悠闲的州警们顿感压力，和市警之间的关系也愈发紧张。桑尼等人偶然发现他们查获的大麻与女尸案有关联，这能在裁员时保住自己饭碗的立功机会州警们岂可等闲视之？于是州警全力出击，谁知黄雀在后……©豆瓣

　　宁檬一直有一个成为投资总监的职业梦想，可毕业后做的工作却与梦想相距甚远。她的上司陆既明是一个业务能力极强的投资总裁，他不认为宁檬也能成为合格的投资人。某一天宁檬终于下定决心离开陆既明，向他也向自己证明她可以做到。宁檬重新求职，经过种种阻碍，机缘下最终进入了鹰石投资，开始了她的晋升之路。过程中陆既明也在关注着宁檬，起初他不认可，但在重要关头还是会对宁檬进行提点，帮助她度过难关。陆既明长远的投资理念使宁檬获益匪浅，宁檬也改变了陆既明的处世态度。两人互相影响，携手并进，经历了无数的波折和风浪之后，宁檬蜕变成

　　远在南美巴塔哥尼亚，无涯草原和连绵高山，是马匹羊群的牧场，也是牧场工头伊云斯的家。以马羊为伴，千篇一律的工作年复年，马羊山岭是日常，不同的只有每逢夏天到来的工人们的面孔。伊云斯大半生都在与世隔绝的牧场渡过，然而年届七十不得不交棒。新来的小伙子夏拿从遥远的北方而来，跟马羊相对还是第一次。寒冬将至，角色互换然而境况相似—两人必须适应各自的新环境奋力生存。                                                                    　　此心安处是吾家，在白茫茫的雪地之中，一个意欲离开，一个拼命留下来。

　　太阳即将毁灭，人类在地球表面建造出巨大的推进器，寻找新的家园。然而宇宙之路危机四伏，为了拯救地球，流浪地球时代的年轻人再次挺身而出，展开争分夺秒的生死之战。

A case, that remained a mystery for nearly thirty years. The desperate search of one brother for his sister. And the agony of those who are left behind by a chillingly brutal crime.

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.

是敵是友？是友是敵？冒險即將啟程！

少年陈枫，丹田如铁，无法修炼。唯有恩师不弃，不想师父被强者击杀，自此再也无人庇佑，受尽旁人欺凌。陈枫尽心守墓五年，却发现师父假死，发现师父遗留的至尊龙血，神秘古鼎。陈枫从此逆天崛起，踏上寻找师父，成为强者的道路。

本片开始回顾了一战时第一部反映巴尔干半岛的默片，内容是描述纺织女工生活的场景。主人公（哈威·凯特尔 Harvey Keitel 饰）是个希腊裔美国人，在经历战争洗礼后，他怀着感慨的心情重归故里，寻找电影开始的地方。他跟同伴讲述着曾经在这里度过的岁月，怀旧而伤感。特别是看 到教徒手持火把游行的情景，勾起了他对残酷战争的回忆。最后，他决心逃离。大雪漫天，他要了辆出租车，并答应送一位老人回家乡看看。然而，满目疮痍的战争废墟，让老人无家可归。汽车在雪地里抛锚，他只能登上了列车继续前行。在萨拉热窝，他在电影馆馆长的陪同下，寻找那部默片未果，却和馆长的女儿一见钟情。他高调地进入社交圈，却发现这里已经被前苏联的文化浸染，到处吟唱着喀秋莎的旋律。他曾目睹列宁的雕像被卸开，内心涌动着复杂的感情…… 本片获得1995年戛纳电影节评委会大奖。

一千多年前，经历恶战的大唐校尉张十一欲带残兵归乡，却在路上无意中救下被叛军挟持的太子。为了国家的安危，这样一群不被人重视的小卒子们毅然决然的踏上了护送太子的险途。

《赃物》穷困潦倒的中年人关富强（任达华　饰）无工可开，渐入绝境，他怨天尤人，憎恨命运的不公。正所谓穷则思变，一生穷怕了的老关剑走偏锋，铤而走险盗取他人骨灰，企图勒索赎金求活。黑天黑地，人鬼难分；《放手》提倡音乐驱邪的风水师父何可（梁家辉 饰）迫于高昂租金准备关张，在最后一天他邂逅一对自称撞鬼的夫妇，因感事态复杂，遂将夫妇介绍给同行好友水晶占卜师王兰（陈慧琳 饰），但他的最后一天营业却没这么简单结束，紧接着一名紧握左手的学生妹找到何师父；《惊蛰》惊蛰祭白虎，朱婆婆（邵音音 饰）照例来到鹅颈桥下摆摊打小人。是夜，先后有阔太太（顾美华 饰）以及名为梁震婴（卢海鹏 饰）的客人上门。当朱婆婆准备收摊之时，一名面容阴森的少女坐在旁边，要求打小人报复三男一女。　　本片根据李碧华短篇故事改编。