活埋

简介：李（卡西·阿弗莱克 Casey Affleck 饰）是一名颓废压抑的修理工，在得知哥哥乔伊（凯尔·钱德勒 Kyle Chandler 饰）去世的消息后，李回到了故乡——海边的曼彻斯特处理乔伊的后事。根据乔伊的遗嘱，李将会成为乔伊的儿子帕特里克（卢卡斯·赫奇斯 Lucas Hedg es 饰）的监护人，李打算将帕特里克带回波士顿，但很显然帕特里克并不愿意离开家乡和朋友们，但李亦不愿在这片伤心地久留。　　原来，曼彻斯特埋藏着李的一段绝望的回忆，他的过失使得三个孩子葬身火海，妻子兰迪（米歇尔·威廉姆斯 Michelle Williams 饰）亦因此而离开了他。此次重回故乡，李再度见到了已经再婚并且即将做妈妈的兰迪，与此同时，帕特里克那失踪已久的母亲艾丽斯（格瑞辰·摩尔 Gretchen Mol 饰）亦联系上了帕特里克，希望他能够成为她的新家庭中的一员。

简介：杨震是东汉历史上非常著名的太尉，他廉洁清正的作风一直被后世所传诵。其中最广为流传的是他的“四知名言”，其曰：“天知，地知，子知，我知，何为不知？”。杨震在朝为官十余载，忠于君，爱于民，为百姓所爱戴，为朝野官员所钦佩。但是，在东汉时期，宦官在朝廷中的势力很大，为首的宦官就是中常侍樊丰。樊丰在朝廷中，为了争得皇上的宠爱，并不断加固自己在朝野之中的势力，处处与杨震为敌，几次三番想尽办法陷害杨震，并勾结皇上的乳娘王圣和其女伯荣，狼狈为奸，兴风作浪……在皇上一次东行出游之时，樊丰一伙竟然假造圣旨，不料东窗事发被杨震亲信所发现，本已是手到擒来可以将一伙反贼一网打尽，却在皇上回宫之时被樊丰捷足先登、恶人先告状，反把杨震告了一个谋反的的罪名。杨震含冤被谴回故里，途中又被樊丰用计假赐毒酒害死。次年顺帝即位，为杨震名冤昭雪，曾金百万，改葬潼亭。

简介：上世纪七十年代，青岛姑娘臧健和（马丽 饰）带着两个女儿被迫流落他乡。为了维持生计抚养女儿，臧姑娘白天洗碗，晚上擦车。无依无靠的她独自一人扛下重重压力，为冲破命运的束缚，臧健和决定卖水饺谋生。从无人问津到门庭若市，身边嘴硬心软的红姐（惠英红 饰）、华哥（朱亚文 饰）、糖水伯（袁富华 饰）都给予了她不少力量。坚持不懈的她把水饺生意越做越大，人生之路也越走越宽……　　影片根据真人真事改编。

简介：故事围绕一个假释犯假释期的最后几天展开。

简介：岸边野裕里（松隆子）在姐姐远野未笑的葬礼上，遇到了姐姐的女儿远野鮎美（广濑铃）。无法接受母亲亡故的鮎美，也无法打开母亲留下的最后一封信。裕里参加了要和大家报告姐姐往生的同学会，巧的是，她的初恋对象镜史郎（福山雅治）也来了，两人在一封封书信的联系中串接起三人当年的故事。

简介：暂无简介，敬请期待

简介：大侠齐如丰将为救他而身亡的仆人方诚的儿子方刚（王羽）抚养成人后，欲立其为掌门人，此举引来方刚师兄的嫉妒。追求方刚不成的齐如丰的女儿齐佩联合师兄与方刚比武，却失手砍断方刚右臂，方刚负伤逃离齐家。　　只剩左臂的方刚被少女小蛮（焦姣）救下后一度意志消沉，但终在小蛮的鼓励下重获信心，凭借小蛮父亲留下的秘籍《左手图谱》练成“左手神刀”绝技。齐如丰的仇家笑面二郎和长臂神魔将齐的弟子系数杀尽，并囚禁了齐佩和齐如丰。顾及师恩，方刚决意不计前嫌助齐家一力。

简介：杰克和小马曾是朋友，一晚二人在餐馆相遇。小马对她极有兴趣，杰克想避开小马，但小马缠著他。给他吸毒，然后不顾杰克女友的反对，两人到塔格家找她，进而大打出手，对塔格全家而言，好好的一晚变成一场恶梦。

简介：该片描述是大圈帮的故事，不过那是早期偷渡来港的一批满以为香港遍地黄金的大陆青年。当时的香港人轻视大陆人的心理，造成二者格格不入，加上本身慕求财富虚荣的思想，终于铤而走险，希望械劫得一笔巨额款项，然后飘洋远方。他们纠结了一群本地飞车党，详细策划了这宗天衣无缝的劫案。　　根據1974年5月25日香港旺角上海街寶生銀行發生的七佰萬元大劫案真實改編。本片根據案中一名犯罪成員親身口述，以寫實的手法拍攝這宗香港開埠以來空前震撼的劫案，該片無論案發前后，人物，地點和計劃都展露眼前。当年擔任此案總指揮的重案組警司 - 陳欣健。亦已轉向娛乐界發展。

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：江南某市新华织布厂第一织布车间的先进小组的工人们，在对待如何使生产质量更上一层楼的问题上，产生了不同的意见。共产党员黎玉贞是个站得高看得远的先进工人。她掌握了“红花防疵”的先进工作方法。但她并不自满，提议到本市新新布厂去学习提高“布面平整度”的经验。而生产组长萧桂英认为新新布厂是个小厂，没有什么好学，说什么学先进要“门当户对”。恰巧新新布厂派了生产能手杜桂英和杨巧英来新华厂取经，于是，在帮和学的问题上，先进小组的工人们又产生了两种不同的态度。黎玉贞既肯无私地教她们布面防疵的操作方法，又能虚心学习她们先进的接头经验，而萧桂英由于连续几年被评为先进，在成绩面前滋长了骄傲自满的情绪。她既不放手教人，又看不见别人的长处，结果，在全市评比中落在萧桂英后面。在党支部和黎玉贞的教育帮助下，萧桂英终于认识了自己固步自封的危害性，改变了骄傲自大的态度，与黎玉贞一起到新新厂去学习。

简介：史考特（凯文·亚当斯 饰）是一个年轻的天才滑雪高手，他有个梦想，想要完成无人尝试过的任务：攀登珠穆朗玛峰顶端，并从最高端持滑雪板下山！当他到达半路时，遇上了曾为滑雪冠军，现为高山导游的老手派崔克（文森艾巴 饰），两人的相遇，带来了彼此生命中最危险、最艰难、却也是最鼓动人心的终极挑战！