在20世纪60年代的南方腹地，一名男子在与自己过去的耻辱作斗争的同时，作为一名丈夫和父亲，他在自己的酗酒和复杂的家庭动态中挣扎。
沈剑心是一位稻香村的保安，平平无奇的他立志成为一代大侠。在拜入江湖大派——纯阳宫后，竟阴差阳错地领会了纯阳宫祖传的绝世秘籍。但他对于自己领悟的一身绝学却毫不知情。于是他步入江湖，逐渐成长，在盛世大唐的江湖纷争中见识了风风雨雨。一个拥有绝世武功的小透明，又将会在江湖中掀起怎样的风浪。
茅山道士九叔（林正英 饰）的大徒弟肥宝（洪金宝 饰）与茶肆老板的女儿珠女（龚慈恩 饰）系指腹为婚，但其岳丈嫌弃肥宝贫穷，欲将女儿许配富家子弟史公子。 为了筹备高额聘礼，肥宝盘下粥摊赚钱。谁知第一个顾客竟然是个女鬼，肥宝尾随其后，进而得知这个名为小红（王文君 饰）的女鬼为了照顾失明的母亲而盘桓人间，于是冒充小红的表哥将母女二人接至家中。肥宝师弟小海（孟海 饰）得知，请求小红色诱史公子，以帮助师兄赚得钱财。不想却被史家的巫师识破……
成佛后无所事事的孙悟空在玉帝授意下来到人间，偶遇迷路的小鹿和收留它的小女孩晶晶，三人各带着不同目的出发。旅途中发生很多趣事和误会，三人渐渐加深了友谊。悟空逐渐意识到节日不论中外，都代表着对亲情的期待，他不仅解开晶晶心结，还为保护孩子的爱与期待，不惜与天庭一战。
《精彩人生》讲述了两位老人老有所为，从冲突到成为好哥们的过程。两位老人既满足了精神需求，也推动和丰富了社区老年人的日常生活。孙海英和妻子吕丽萍在电影中饰演饰演一对黄昏恋人。孙海英表示，该片的剧本就是吕丽萍推荐的，看到之后就马上决定出演。
内详
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.
人称帮主的钟邦（钟景辉 饰）在六十年代创立了诚实地产代理公司，而今，年过六十的他早已退休，而诚实地产亦交给他的儿子钟志良（吴启华 饰）接手。钟志良十分能干，把诚实地产打理得有声有色。但年近不惑的他由于整天忙于工作而一直忽略了终生大事，这令到帮主十分心急。一天，化妆品推销员Eline（蒙嘉慧 饰）的朋友租住到帮主所在的大厦，搬家时得到了帮主等一班老顽童的帮助，Eline由此和帮主混熟了。 Eline深感推销化妆品赚钱远不及推销房屋来得快，于是想加入房地产代理行业。在她去城中最大的地产代理公司卓越面试时，遇到了旧时的中学暗恋的对象霍明轩（曹永廉 饰），原本灵牙俐齿的她忽然窘迫得讲不出话来，当然她到卓越的面试失败了。帮主推荐Eline加入了诚实地产，Eline发现这里除了钟志良外，其他人全都十分奇尼古怪，一度想退出。这时，卓越的的生意范围开始入侵到诚实的地...
1922年的春天，作家尼克(托比•马奎尔 Tobey Maguire 饰)满怀希望离开家乡，随淘金热潮来到纽约这个新兴的城市，虽然这里爵士乐流行，股票飞涨，但是贫富两极分化，人们沉沦在纸醉金迷中。尼克为了追寻美国梦，放弃写作而进入证券市场，并搬入纽约附近的海湾居住，成为了神秘富豪盖茨比（莱昂纳多•迪卡普里奥 Leonardo DiCaprio 饰）的邻居。而海湾的对岸住着尼克的表妹黛西（凯瑞•穆里根 Carey Mulligan 饰）和她的贵族丈夫汤姆（乔尔•埃哲顿 Joel Edgerton 饰），尼克不仅被邀请去赴宴，之后汤姆还带着他去找情妇寻欢，尼克渐渐迷失在这个充满魅力，以及富豪编制的假象、爱与谎言的世界中。但是只有盖茨比最特别，他是唯一让尼克感到在这个迷失城市里充满希望的人。尼克被邀请参加了盖茨比豪宅中的盛宴，还发现盖茨比心中的秘密，原来他一直深爱着黛西，即使她没等到他战后归来，转而嫁给富豪汤姆，盖茨比一直深信他们的爱情矢志不渝。尼克作为盖茨比与黛西爱情的见证者，终于在盖茨比被谋杀之后，看清了这个上流社会的虚情寡义，决心远离喧嚣、冷漠、虚假的大都市，黯然回到故乡……©豆瓣
《三国志：关公》下集
杰克（小罗伯特·唐尼 Robert Downey Jr. 饰）仗着自己英俊的外表整日沉迷于美色之中并引以为傲。一次偶然中，杰克在酒吧中邂逅了名为兰迪（莫利·林沃德 Molly Ringwald 饰）的女孩，他深深的被这个自信又热情的姑娘所吸引，两人一拍即合相谈甚欢。然而次日，兰迪对杰克的态度却来了个一百八十度的大转弯，百思不得其解的杰克找到了兰迪的住所，才发现兰迪的父亲是一个赌鬼，背负的巨额债务。
迈克尔·道格拉斯扮演的威廉·福斯特是一家军工场的工程师，被解雇后心情很压抑。因离婚，小女儿的生日没被邀请，恰好路上堵车，他弃车走进一家杂货铺，想找点零钱打电话，却遭到刁难，他操起垒球棒砸了铺子。在公园休息时，又和流氓打了一架；在快餐店里因和服务生发生争执，他拔出从流氓那里缴获的手枪一阵乱射，此时他已完全失控。最后，他面对退休警官的枪口，不禁自问：“我是坏人吗？”