机缘巧合之中，高中男生希德（尚-巴堤·莫里耶 Jean-Baptiste Maunier 饰）得到了一部神奇的手机，他可以利用手机，对他看不顺眼的人进行恶作剧。但好景不长，很快希德便发现，那些恶作剧并没有表面看上去的那么简单，它甚至导致了两起死亡事件，恐惧之中，希德决定丢掉手机。 没想到，这个神奇的手机并没有那么好摆脱，在希德将它丢弃的隔天，它又回到了希德的身边，并且告知希德，它决定将他暗恋的女生安琪（珍妮芙·德克 Jennifer Decker 饰）杀死。为了保护心爱的人，希德和神奇手机成为了敌人。面对着手机强大而又残酷的利用电波控制他人的特异功能面前，在出现了一个又一个牺牲者之后，希德和安琪最终能够逃出生天吗？
电影在一个以驯服怪兽并以进行怪兽摔跤为乐趣的世界里，温妮试图跟随她父亲的脚步，把一个没有摔跤经验的怪兽变成一个摔跤选手的故事。
距新一轮总统选举还有6个月，极右党派主席在民意调查中占据了优势，而他却在马乔里总统最亲信的顾问西蒙·卡皮塔眼前被人谋杀。这场变故完全打乱了政坛的格局，开启了一场血腥的厮杀。在现任总统任期的最后阶段，各种政治手段、阴谋和背叛的阴影笼罩着各党各派。而马乔里与妻子伊丽莎白的紧张关系也成为了小报记者的谈资。对于西蒙·卡皮塔来说，这一次的总统选举分外凶险
故事发生在中国南方经济兴旺的某城市。香港跨国文明公司“全金福”的董事长刘万德带全家到自个的别墅休闲休假，他们浑然不知，一场噩梦行将来临...
NBC宣布一口气续订《#芝加哥警署# Chicago P.D.》三季。
网游荣耀中被誉为教科书级别的顶尖高手叶修，因为种种原因遭到俱乐部的驱逐，离开职业圈的他寄身于一家网吧成了一个小小的网管，但是，拥有十年游戏经验的他，在荣耀新开的第十区重新投入了游戏，带着对往昔的回忆，和一把未完成的自制武器，开始了重返巅峰之路。
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.
小龙女与杨过本在古墓中融洽生活；但小龙女遭尹志平迷奸，误以为失身于杨过；杨不知就里婉拒婚议，龙愤然出走后杨与龙重逢，重提婚事，却遭黄蓉劝阻，为什么两人之间的感情一波三ccc？
婉容从英国回来见失散十年的孪生妹妹惠林，却得到妹妹跳楼自杀的噩耗，还是带着两个月的身孕。婉容不相信惠林会自杀，她连同警探陈皓一起深入调查。
醉拳、双节棍、五形拳等……是中国功夫的精髓，随着中国功夫片引进海外市场，中国功夫在世界各地被受重视，更掀起追求、研究中国功夫奥秘的热潮中国功夫的最大特点是将动作与人体结构配合，如运用得宜，能超乎人类体能极限，刚柔并重，千变万化，充满神秘感。何谓「十八般武艺」呢？著名的少林功夫有甚么奥秘呢？少林弟子如何挑战木人巷而下山呢？这些鲜为人知的事，在本片中都可一一找到。