故事发生在1973年的意大利那不勒斯，佩皮诺（路易基·卡塔尼 Luigi Catani 饰）是一个生活在那里的十岁男孩。佩皮诺生活在一个并不幸福的家庭之中，父亲在外面沾花惹草，母亲在家中以泪洗面。最终，佩皮诺无法忍受家里萧条的气氛，于是决定离家出走投奔自己的叔叔萨尔瓦多（利贝罗·德·瑞恩佐 Libero De Rienzo 饰）和婶婶提提娜（克里斯蒂安娜·卡波通蒂 Cristiana Capotondi 饰）。 萨尔瓦多和提提娜都是信奉自由至上的嬉皮士，在两人的带领下，佩皮诺领略了各种舞会派对的热闹以及欢乐，而堂哥杰纳罗（文森佐·内莫拉托 Vincenzo Nemolato 饰）则更是成为了佩皮诺的人生挚友。不幸的事，在一场车祸中，杰纳罗意外丧生。
身怀绝技的厨师叶大岗（孙海英 饰）和徒弟裘子（杜双宇 饰）在游击队做炊事员。一次送饭途中，裘子邂逅了自己暗恋多年的梦中情人小荷（阎俊希 饰）。小荷经营着一家杂货铺，此时已是韵味十足的俏寡妇。叶师傅暗中支招有意促成，眼见好事将成，一队日本兵却从天而降。原本平静美好的田园生活被打破了，而引狼入室的正是土财主李老六（盛石头 饰）。叶大岗和裘子阴差阳错地被扣为人质，专职为鬼子提供餐饮服务。原来日本兵大队长米西太君（刘长春 饰）是个略带神经质的变态美食家，他最爱的就是在饱餐奇绝美味后跟游击队干上一仗。危机降临，
NBC宣布重启《法律与秩序》并续订第21季
一位失业的广告主管开始跟踪他以前房屋的新房客，而他的家庭动机变得险恶。
关于韩国水军生活的喜剧片。
奥黛丽·赫本生平纪录片
暂无简介
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.
劳伦，一个充满想象力又非常擅长讲故事的爸爸。他用天马行空的想象力，编织了一段段妙趣横生的故事，孩子们都被这些神奇的故事所深深吸引。这天，吵着要吃煎饼的孩子们，正围坐桌前，听他们的爸爸劳伦讲故事。劳伦马上要讲的就是一个关于煎饼的故事。他化身传奇的侠客佐罗，为孩子们勇夺煎饼，孩子们欣喜若狂，嚷着还要继续听。当然，我们的“讲故事爸爸”每时每刻都有别出心裁的新故事讲给孩子们听。一天，孩子们决定给爸爸劳伦报名一场“寻找最会讲故事的人”的电视比赛。然而与劳伦共同比赛的还有自以为无所不知的休伯特、音乐家莫莫以及善于左右时局的操控者埃里克。为了赢得比赛，劳伦使出了浑身解数。那么劳伦到底能否赢得这场竞争激烈的比赛呢？
小龙（释小龙饰）被师父派下山寻找佛缘，第一次来到大城市的他，不幸与师兄失散。还好遇到了流浪儿肥虫（郝邵文饰），才不至于挨饿受冻。肥虫见小龙武功高强，便决定追随他。随后二人又碰到了英雄救美的古董爱好者一山（元彪饰），一山被小龙的执着精神打动，决定帮助他一起寻找佛缘。原来一山的兄弟（徐锦江饰）正是某个倒卖文物团伙的头目，而他们正在倒卖的，正是小龙师父的寺院丢失了的佛首，小龙三人得知后，便和被一山救下的少女小萱（徐若瑄饰），一起踏上了寻回佛首之路……
电影讲述的是第二次世界大战太平洋战争重要转折点——中途岛海战：经此一役，日本海军受到“降维打击”，美日海上实力反转，从而扭转了整个太平洋战场的局势影片通过参战士兵和飞行员一个个鲜活的故事，带领观众逐步进入1942年6月初发生在太平洋中途岛附近那场令人难以置信的战争……
剧情讲述中环船务公司老板高达夫，原为西营盘苦力杀手集团头领。原本改邪归正从事正当生意的他，因拒绝替人从事一宗谋杀任务而遭受袭击，致使手下几名兄弟丧命。迫不得己，高重握枪杆……