《穿书自救指南》改编自晋江文学城作家墨香铜臭小说《人渣反派自救系统》，亲爱的玩家，欢迎来到《人渣反派自救系统》.......普通青年沈垣原为修真小说《狂傲仙魔途》的读者，因看完书后骂出激活码而触发了神秘系统，因此穿入《狂傲仙魔途》书中世界的人渣反派沈清秋躯壳中。为了改变人渣反派沈清秋最后被徒弟洛冰河揭开真面目落得身败名裂而死的下场，他开始了漫漫洗白之路……
内详
马库斯、母亲、父亲、坎皮恩、保罗、苏等集体回归！讲述母亲和父亲带着人类的6个孩子在开普勒22b星球神秘热带地区加入了一个新成立的无神论殖民地，但是在这个陌生的新社会中，他们的麻烦才刚刚开始，因为母亲的"亲生孩子"有可能使仅存的人类走向灭亡。
武林高手仇子玉(郭追 饰)，本已退隐江湖，但正气未泯，应武林大豪屠一(李艺民 饰)之邀，联手对抗四大巨盗，夺回飞龙璧物归原主。谁知屠只是利用「鹬蚌相争，渔人得利」的局面夺取该璧据为己有，事成后仇亦惨遭毒手……
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.
一对不幸的已婚夫妇发现自己受到了一对流浪汉夫妇的摆布，他们出现在门口，声称自己的车坏了。他们真的是被丈夫雇来温暖妻子的；但事情很快就变得丑陋起来。
本片讲述了聪明可爱的小Q在训练师悉心照料和训练过程中成长为一只合格的导盲犬，并遇到了主人李宝庭（任达华饰）——中年失明、孤僻又坏脾气的天才糕点师。他们共同生活的日子里，小Q逐渐融化并走入了宝庭的心里，温情的陪伴令处于低谷期的宝庭有了新 生活，一人一犬，深深的羁绊，他们谁也无法再失去彼此。
《黑人小姐速写喜剧》于8月2日开播，由该剧主创兼制片人罗宾·西德、阿什利·妮可·布莱克、加布里埃尔·丹尼斯和昆塔·布朗森等黑人女性主演。《不安感》中的伊萨·雷是EP，偶尔客串。
5月22日 21-22赛季英超第38轮 水晶宫VS曼联
梁宽自觉前半生经历了三个巨浪。第一他认识Ann的那天。第二梁宽于几年后娶了Ann为妻子，自此成为老婆奴的那天。第三Ann认为他没出息，决定跟他离婚并带走8岁女儿，母女从此人间蒸发的那天。此后，梁宽化悲伤为力量，由一个我见犹怜的小男人，蜕变成人见人怕的大男人。今天他已是上市公司主席身边的大红人，他学哓无所不用其极的手段去赚钱，他拥有的财产，足以让他一生无忧，而最大遗憾是前妻阿Ann看不到他的「长进」。自从他发达后就害怕照镜，没有原因地害怕面对镜中的自己。一天，长大成人的喜喜突然出现，一时间不懂得怎样跟她相处，毕竟在他的记忆之中喜喜只得八岁，而她的回归亦悄悄改变着梁宽，他终于能再次面对镜中的自己