雅各布（HeiovonStetten饰）是一位专门研究大情圣卡萨诺瓦（托马斯·海因茨ThomasHeinze饰）生平的博士，他撰写了一篇关于他的论文，准备将论文作为礼物，献给自己暗恋已久的女孩玛丽（约翰娜-科斯迪纳·盖恩Johanna-ChristineGehlen饰），哪知道，在这个节骨眼上，雅各布被这份论文砸到了头晕了过去，当他醒来时，面前站着一个中世纪打扮的英俊男子，男子告诉雅各布，自己就是他一直都在研究的卡萨诺瓦。很快，雅各布就发现，只有自己能看见卡萨诺瓦的存在，在卡萨诺瓦的建议下，雅各布和他进行了一笔“交易”，卡萨诺瓦将教会雅各布各种各样的御女奇术，而雅各布则要负责改变世人们对于卡萨诺瓦错误而又刻板的印象。
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Russel（汤姆·库伦 Tom Cullen 饰）是一个同性恋者，他在人群中小心翼翼地隐藏着自己，生怕被别人发现他是同性恋。一个周末晚上，参加完朋友聚会的他来到一家Gay Bar寻找一夜情。他遇见了Glen（克里斯·钮 Chris New 饰）。一夜之后，Glen让Russel录下了一段他对性的看法。Glen是个在美术馆工作的艺术家。之后他们又见了几次面，在一起讨论他们的过去，他们的人生，他们对同性恋的看法，Russel也了解到Glen关于同性恋的激进观点。Glen要去美国读书，在告别派对上，他们两人偷偷溜了出来，享受了最后只属于他们两人的时光。第二天，Glen即将离开，Russel得去参加朋友女儿的生日聚会。但在聚会上，Russel又无法停止对Glen的思念，他最终还是决定去找Glen...... 这部英国电影在2011年3月美国德克萨斯州奥斯丁的SXSW电影节上首映，收获了不少好评。
香港有一间警局，三十年前曾是日军侵略香港时的军营。因为战败，日本军官在里面切腹自杀了。据说他们的阴魂不散，魂魄依然逗留在这所警局当中，并会在孟兰节当天出没。金麦基（张学友 饰）与孟超（许冠英 饰）都在这所警局里面当警察，但他们一直不相信警局里面的恐怖传说。直到在孟兰节当天他们亲眼目睹了逃犯蛇仔明（楼南光 饰）遇到太阳化作了灰土，原来蛇仔明在监狱内看到了日军的鬼魂，被咬后变成了僵尸，他们才相信警局内的确有阴魂。 他们把情况报告上司正想查明真相，又遇到了一女子疑似被僵尸咬后死去了。一场警察与厉鬼间的较量也正式开始了……
略带神经质的彼得（小罗伯特·唐尼 Robert Downey Jr. 饰）是一个准爸爸，五天后就是妻子（米歇尔·莫娜汉 Michelle Monaghan 饰）的预产期。他冲忙赶上飞机，希望可以马上飞到妻子身边陪她生产。不料，事与愿违，偏偏 上了飞机遇上一心想成名的演员伊森（扎克·加利凡纳基斯 Zach Galifianakis 饰）。然后，麻烦也就接踪而至了。在一场混乱过后，两人被赶下飞机并列入禁飞乘客名单。更不幸的是，彼得皮夹、证件又通通被飞机载走。为了及时赶上宝宝的诞生，彼得不得不选择和讨厌的伊森共同上路。二人被迫一起搭上顺风车，展开了一次穿州过省的公路旅程。当神经男遇上怪咖男，路上还有什么在等着他们呢？最后，彼得是否赶得上迎接孩子的出生？
《完美音调3》是系列影片《完美音调》的第三部，主要讲述了发生在《完美音调2》之后的故事，贝拉组合在毕业后再战大舞台。然而曾经风光一时的她们如今日子过得也并不顺利，潦倒的合唱团姐妹们一事无成，生活的不如意，工作的不顺心让姐妹们更加急切想要表现自己，重新获得辉煌。趁着美国劳军协会将在欧洲举办劳军表演，大家决定团结起来，争取获得表演的邀请，然而时过境迁她们仿佛不再受欢迎，为了重回大众视野，也为了证明自己，姐妹们必须放手一搏。
以天竺为目标的僧人玄奘（仓科加奈 饰）正行走在漫长而艰辛的旅途之上。这一天，老爷爷（山田凉成 饰）和老婆婆（笹野高史 饰）找到玄奘，希望他能封住不良少年山田太郎（松山研一 饰）的妖力。凭借宝珠的力量，太郎的妖力遭到封印，而他也被迫跟随玄奘踏上洗心革面的征途。这个时常全裸且肆无忌惮放着臭屁的问题少年，将给这段征程增添怎样的色彩呢？ 本片根据漫☆画太郎的搞笑漫画改编，影片首周初登场观众满意度排名第十位。©豆瓣
拉扎罗（阿德里亚诺·塔尔迪奥洛饰）是一位内心单纯的年轻农民，坦克雷迪（卢卡·奇科瓦尼饰）则是一位骄横的年轻贵族。他在Inviolata这座与世隔绝的小城内生活，这个城镇则由侯爵夫人阿诺西纳·德·卢娜（尼可莱塔·布拉斯基饰）所统治。年轻的农民和年轻的贵族相遇并成为好友。某天，坦克雷迪自导自演了一场绑架戏码，希望骗到母亲的赎金，不料最终引来了警察……
来自乡村的年轻人「飞（柯震东饰）」独自一人来到城市，为了赚钱抚养家人成为性工作者，后来与同行的前辈「晓来（林哲熹饰）」成为恋人，但两人在一场意外后断了音讯。时隔五年，飞的同事纷纷出于家庭与社会压力而离开，唯有飞选择留在城市与同乡男友龙继续打拼，却与已结婚生子的晓来不期而遇。
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.
阿富汗国会大选召开在即，为了保证大选的顺利进行，美国海军陆战队联合特种部队对辖区进行一系列彻底的清查。在某个动荡的地区，前塔利班头目艾哈迈德·沙赫趁机做大，成为了一个美国急欲除掉的眼中钉。根据线报，沙赫的武装部队隐藏在某个山区，海豹侦察小队中尉麦克·墨菲（泰勒·克奇 Taylor Kitsch 饰）带领丹尼·迪茨（埃米尔·赫斯基 Emile Hirsch 饰）、麦特·阿克塞尔森（本·福斯特 Ben Foster 饰）以及马库斯·拉特尔（马克·沃尔伯格 Mark Wahlberg 饰）三名队员前去搜寻情报。但是他们的行踪很快被当地的牧羊人发现，虽然对方是普通的平民，可却为小队提出了难题。处决牧羊人，小队将面临军事法庭的审判；释放牧羊人，这四个美国军人将可能陷入前所未有的灭顶之灾中…… 本片根据马库斯·拉特尔（Marcus Luttrell）的同名回忆录改编。