在相当短的一段时间内，接二连三的死者出现，这些看似意外死亡且彼此没有任何联系的人们，肛门处全都藏着预示了凶相的神签。案情扑朔迷离，万般无奈之下，芳贺长官（白井晃饰）命令负责此案的刑警西园寺守（石井正则饰）请业已离职的古畑任三郎（田村正和饰）出山。以此为契机，古畑、今泉（西村雅彦饰）、向岛（小林隆饰）这一经典组合重新聚首。当西园寺和今泉还在胡乱猜测此案的共通点时，古畑却已敏锐地将目光锁定在负责验尸黑岩健吾博士（绪形拳饰）的身上。沉稳阴郁、老练圆滑的黑岩博士此番引火烧身的背后目的究竟为何？本片为《古畑任三郎》系列第四部SP。
是一档聚焦原生友情的真人秀，由董子健、刘昊然、王俊凯担任常驻嘉宾。节目通过真实记录三位艺人实现心愿旅途的过程，展开一场原色少年放飞计划。同时希望通过节目中对三位少年旅途中所见所感的描绘，唤起用户对旅行的向往， 怀念重拾少年之心。
名摄影师北见俊介（豊川悦司 饰）的事业曾经无比辉煌，如今却懒散放荡，几乎完全放弃了摄影事业。生活中的他浪荡不堪，沟女成性，坐吃山空，对老婆阿樱（薬師丸ひろ子 饰）视若不见。夫妻二人经常发生争吵，吵到最后连争吵的欲望也没有。负责家务的文嫂（石橋蓮司 饰）和徒弟古田诚（濱田岳 饰）担心北见的状况，可是却无济于事。曾经沉浸在甜美爱情中的二人，曾经厌烦彼此渴望逃离对方的二人，矛盾的综合体，让他们即使离婚后仍有难以名状的怅然，却仍强颜欢笑轻松面对。 最难忘那如青春少女般奔跑着的妻子的背影，不经意间刹那永恒……
元龟二年夏，早川的又七（藤原釜足饰）、太平（千秋实饰）被困秋月无法返家，只因秋月战败于山名，故山名重兵把守秋月早川的边境以防秋月的雪姬（上原美佐饰）逃亡。二人在山中遇见了秋月武士真壁六郎太（三船敏郎饰）和雪姬，并在不知对方真实身份的情况下与其共同运送木柴取道山名向早川进发，只因觊觎藏在木柴里的金条。真壁的计谋帮助四人顺利通过了秋月山名的边关，而雪姬不忍看秋月女子（樋口年子饰）在山名受辱，命真壁赎之。五人运木柴赶路，忽被四名山名兵盘查。真壁当机立断杀死两人，又飞身上马追杀逃掉的两人。一路追至敌营，遇见了山名武士田所兵卫（藤田进饰）。二人相见恨晚，较量许久，难分高下……
美丽好强的女孩张瑶，先天身体条件不足却靠着执着的精神打动了来村挑选运动员的教练韩翔，留下她改练竞走。在经过种种几近残酷的训练和不断克服困难后，她终于实现了梦想，成了优秀运动员，活出了人生的精彩。
前赛艇冠军林奕峰(李兆林 饰)因状态不佳被迫退出奥运会选拔，去大山里当了17个孩子的代课体育老师。孩子们用破木板做了一艘赛艇，让林奕峰教他们划赛艇。林慢慢被孩子们对梦想的执著感动，带着他们又做了一艘赛艇，取名“梦想号”。千岛湖上，有了一次真正的赛艇比赛……
电影版《海滩护卫队》（Baywatch）最引人注目的角色“C·J·帕克”（C.J. Parker）的演员人选今天终于尘埃落定，女模凯莉·罗尔巴赫（Kelly Rohrbach）将出演这个当年一举捧红帕梅拉·安德森（Pamela Anderson）的角色。
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.
11月17日 22-23赛季NBA常规赛 火箭VS独行侠
新成员的加入，全新的超能力，超能少年五人行再度袭来！ 上一季中，超能少年们把自己的超能力都卖了出去，而这一季，则讲述他们得到新能力后的故事。凯莉（劳伦·索恰 Lauren Socha饰）成了一个火箭专家，对于她来说这能力似乎一无是处；科蒂斯（内森·斯图尔特-贾瑞特 Nathan Stewart-Jarrett 饰）可以转换性别，这让他陷入一场奇怪的恋爱中；艾丽莎（安东尼娅·托马斯 Antonia Thomas 饰）可以看到别人所经历的事情；西蒙（尤恩·雷昂 Iwan Rheon 饰）能够预见未来，他努力让自己变得更强，更接近未来的西蒙，而女友艾丽莎似乎不理解…… 一次意外事件，四个超能少年与拥有分身能力的鲁迪（约瑟夫·吉尔根 Joseph Gilgun 饰）联系在一起，他们还因此重新回到了社区中心。新成员，新能力，超能少年的故事延续着……
4月10日 21-22赛季NBA常规赛 勇士VS马刺
With unprecedented access, this series goes inside the Bank of England during 2018 as it navigates turbulent economic times – including the challenges posed by Brexit.