由伍迪·艾伦编著并主演的本片，描述一名亨佛莱鲍嘉的大影迷，整天梦想自己成为鲍嘉，连妻子也受不了离他而去，于是他找寻新的伴侣，结果找到了朋友的妻子。导演赫伯特·罗斯把此片从亨佛莱鲍嘉在《北菲谍影》里的形象发展出来，压轴戏完全重复了《北菲谍影》的场面，但情节却恰恰相反，因而制造出不可言喻的幽默妙趣。其中更有伍迪·艾伦的精彩表演，对于伍迪·艾伦的影迷而言，此片是非看不可。
这是一场永远不会结束的噩梦：一家人去海滩旅行，小劳伦·达利被陌生人绑架，神秘地失踪了十年后，精神受了重创的劳伦被找回来......这个家庭被十多年前的这场悲剧不断地萦绕着。
一个佣兵界的绝世高手，一个是大富之家的绝美女神，因为一份恐吓匿名信，不得不形影不离，共同面对未知的危险。可是···这个传说中武功强过中南海保镖，机智胜过国产凌凌漆的男人原野，却没什么正行，脸皮比城墙还厚，怎么看都是个大色胚！然而，这个美女千金林瑶也不是个善茬，任性刁蛮，我行我素，甚至策划了一出绑架自己的戏码，就是为了引起老爸的关注。打打闹闹间，两人逐渐有了默契，危机却不断发生......boss的绑架勒索、旧时的仇家来寻，原野与林瑶靠着身手不凡的技能和IQ200的机智一步步的化解了危机。然而，原野身边还有一个感情深厚，一直陪伴他枪林弹雨的好基友陆博，三人的结局到底会如何呢？
影片改编自芬兰畅销儿童小说，讲述了两兄弟Tatu和Patu收到好朋友Veera的邀请来到大城市过圣诞。但是Veera因为一些原因耽误了去火车站接两兄弟。于是二人就凭借自己的努力在大城市找寻Veera的家。这是一个温馨的故事，讲述了友谊的重要性和对多样化的包容。@http://www.55dys.com/yinseyinxiang.html
电影《白鲸之恋》以白鲸的拟人视角，讲述四个年轻的驯养员在海洋馆里的工作与爱情，他们放弃业余休闲生活，他们到了婚恋年龄却没有精力顾及考虑，他们拿着微薄的薪水，他们是当下最普通青年的写照，没有做着听起来高大上的职业，更没有职场上你来我往的针锋相对，有着的只是和白鲸相处的点点滴滴，动物的聪慧、善良与忠诚，深深打动着他们，他们唯有用更多的爱去陪伴。在与白鲸相处的过程中，人类与白鲸相互影响、多角度，双视角的拍摄方式刷新了人们对海洋动物的认知，白鲸不再是生活在海底深处的冰冷生物，他们有思维、懂情绪，整部影片精彩生动，传递出的正能量影响着许多快节奏生活中的年轻人，顿悟他们去思考生活、考虑人生。
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.
《有生之年》以「高家一家人」为核心，故事由异乡游子高嘉岳一句「我回来了」揭开序幕。面对感情和事业的困境，高嘉岳决定在告别世界之前，回家探望家人。然而，他却惊觉每位家人的生活并非如他所预期，这令家人间的情感面临巨变...
《风雪狼道》以本世纪初发生在新疆北部阿勒泰地区的特大雪灾为背景，讲述了我公安干警以大无畏的忘我精神、舍身挽救淘金客生命的感人故事。草原的美丽、雪山的巍峨、马背民族正在消失的生活样本以及新疆地区民族音乐...
Young Ivan Drago's newfound love of board games catapults him into the fantastical and competitive world of game invention, and pits him against the inventor Morodian, who has long desired to destroy the city of Zyl, founded by Ivan's grandfather. To save his family and defeat Morodian, Ivan must come to know what it is to be a true Games Maker.
风和日丽的一天，严社长一家到郊外野餐。快乐的心情没有持续太久，当一行人抵达别墅后，遭到了一个陌生“怪人”的突袭，全身各处遭乱刀伤害。井空中的严社长认出这个“怪人”正是不久前遭他辞退的员工金某。金某只有一个要求，就是想得到严社长的诚恳道歉。家人催促严社长立即按照对方要求行事，谁知，严社长此时却心生鬼胎。
三名手持武器的狂躁匪徒在平安夜杀入香港法医中心抢夺证物，枪杀了楼中保安，并挟持和暴虐对待两位法医在此期间，法医对匪徒身份起了怀疑，而他们真正目的似乎另有隐情。法医偷换证物并利用对环境的了解和身边专业器材进行拼死反抗，最终和被逼入末路的匪徒展开近身肉搏。