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当她的狗在交通事故中丧生时，塔拉被迫取消了她的婚礼。在她狗的鬼魂的帮助下，在天堂的四分五裂的沟渠里，她的小镇一起集会，以确保塔拉有她梦想的婚礼。
锦恒（吴镇宇 饰）和Henry（陈锦鸿 饰）是一对好同事兼好友，同在一家杂志社担任负责人。虽然两人是好友，但两人的性格却相差甚远。锦恒为人老实，甚至有些古板，而Henry则大方开朗、生性风流。两人都已经成了家，锦恒和妻子Ivy（李婉华 饰）婚后一直过着平淡的生活，虽然感情稳定，却毫无生气；而Henry的妻子Linda（彭杏英 饰）和他性格相当，两人虽然经常打打闹闹，但比起锦恒他们却也热闹许多。
蓝飞（杨千嬅饰）和身为建筑师的丈夫尚剑雄（黄浩然饰）结婚多年，两人共同养育着活泼可爱的儿子尚启佳，尚剑雄在外面努力工作养家，蓝飞则安心在家相夫教子，男主外女主内的生活过得井井有条。然而某一日，一直都非常信赖丈夫的蓝飞震惊的发现尚剑雄背叛了自己，移情别恋，东窗事发后，尚剑雄选择离开了蓝飞，抛弃了自己的妻儿。霎时间，蓝飞失去了一切，成为了需要独自抚养孩子的单亲妈妈，不仅得外出讨生活，还得为了避免流落街头，每月偿还巨额房贷。为了供房，蓝飞决定将房子出租出去，就此结识了名叫荣浩田（周柏豪饰）的帅气房客，两人之间碰撞出了激情的火花。
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.
乌龙寺住持圆慧以及珍贵的《九阴真经》无故失踪，之后，圆慧的胞弟紫微真人（王华 饰）成为了当朝国师。小和尚开心（曹骏 饰）被调至乌龙寺担当住持，阴差阳错之下认了平日里四处招惹是非的小混混百搭（陈天文 饰）做他的师叔，两人捣鼓出的动静常常将寺中掌管戒律的铁空气得半死。
喜羊羊、灰太狼与一众小羊组成的守护者队进入篮球顶级赛事决赛，但却意外地败北，团队分崩离析。
方中信、李赛凤、吕少玲是天使组织的成员，在一次圆满任务完成后，在马来西亚之旅中巧遇好友陈庭威，却没想到陈庭威阴谋反动、自组军队，而天使组织此次任务即是陈庭威，然而面对一个生死之交，李赛凤等人下得了手吗?
六个许久不联系的大学好友共聚一堂，计划共同度过3天小长假，让他们重逢的机遇却有些悲伤————六人中的亚历克斯在不久前自杀未遂，好友们决定照看并阻止他再次寻短。然而当有着无数共享记忆的旧日同窗相聚，早已被生活改变的他们将碰出怎样的火花？近在咫尺的旧爱又对已成人的密友们有何影响？
在广袤安宁的原始森林中，快乐的蓝精灵们正在准备一年一度的蓝月亮节。而就在这欢喜忙碌的关头，他们的宿敌——邪恶的巫师格格巫（汉克·阿扎瑞亚 Hank Azaria 饰）和他的宠物阿兹猫闯入了蓝精灵的秘密领地。受到惊吓的蓝精灵四散而逃，其中可怜的笨笨（安东·尤金 Anton Yelchin 配音）则盲打误撞跑进了据说曾经死掉99个蓝精灵的瀑布进去。最终，笨笨连同营救他的蓝爸爸、蓝妹妹、聪聪等卷入了神秘的漩涡，来到了美国纽约的中央花园。在这个完全陌生的世界，他们得到化妆品业的帕特里克（尼尔·帕特里克?哈里斯 Neil Patrick Harris 配音）的帮助。为了返回大森林，蓝精灵们想尽各种办法。与此同时，格格巫和阿兹猫也来到纽约…… 本片根据比利时漫画家沛优（Peyo）及其夫人共同创作的漫画改编，早年曾被美国引进制作成TV版动画。
这是关于两个沦落香港的最低下层的人的故事。中年男子汉昌荣（黄秋生饰）因意外受伤瘫痪后妻离子散，他认为人生再没有值得期望的东西，而自己亦不值得拥有任何东西。年轻菲佣Evelyn（Crisel Consunji饰）因为现实的原因，成为了一个寄人篱下的工人，放弃了成为摄影师的梦想。那一个夏天，这样的两个陌生人相遇相识，感情在他们的主仆关系中发芽，然而盛放的，却是灵魂与灵魂之间的尊重和爱。他们一起经历的春夏秋冬，令他们学习到底要怎样面对人生的四季。
拉米尔（纳得克·库吉米亚 Nadech Kugimiya 饰）是一名警察，四肢发达头脑简单的他习惯于依靠力量来行事，因此个性略微的有些狂妄自大。帕塔（尤拉萨雅·斯帕邦德 Urassaya Sperbund 饰）是拥有很高人气的女明星，常年的幕前生活让她习惯了身处金字塔顶尖万众瞩目的感觉。在机缘巧合之间，拉米尔和帕塔要合作一起拍戏，个性仿佛针尖对麦芒的两人之间自然爆发出了许多的矛盾，帕塔觉得拉米尔是一个不通情理的傻瓜，而拉米尔则受够了帕塔矫揉造作的脾气。 拍摄现场发生了意外事故，拉米尔和帕塔双双坠楼危在旦夕，当两人从昏迷中苏醒过来后，震惊的发现他们竟然交换了魂魄。