沙展刘检获一辑淫照交予上司姜警司后不久，即遭冷面杀手大虎所杀，多年拍档阿Pitt誓要替老友复仇，追赶原凶，于是逐一线索查探，张于发现面档肥老鹅是唯一的目击证人，邀得他的帮助，于是顺利将大虎拘捕，可惜他随即被金律师担保外出。大虎为向肥鹅报复，派人向其家掷燃烧弹；使他变得无家可归。于是Pitt邀他回家暂住。Pitt姐Angel乃新闻记者，为套取第一手资料，经常向肥鹅索料，闹出不少笑料，二人更设下“非礼计划”，借故在公众地方将大虎痛殴一顿，以泄心头愤。大虎其后设陷阱引肥鹅与Pitt，欲将之干掉，幸得小美相助才得以脱险。小美原来是黑市居民，被诱骗来港，又被金律师迫为娼妓。在小美帮助下，Pitt与肥鹅取得架步内的一辑淫照，并发现姜警司原来有份参与，于是向姜警司大兴问罪。谁知姜警司已将Angel、小美等捉去作人质，迫他们二人交出淫照。当然最后是邪不能胜正的。
最近在香港发生了几宗十分离奇的凶杀案，所有死者都是男人，就像聊斋故事中遇妖的书生，被吸至精尽人亡，经过验尸报告后，发现众死者都有一个相同点，身上总有一个伤口有一种南美响美蛇的蛇毒，警方派出干探文志伟(文)去调查此案，文知道有名男死者最后是从兰桂芳的一间酒吧离开的，便到酒吧中进行调查。文初见酒吧女东主Medusa(莎)对之惊为天人，但莎身边却常有一班狂蜂浪蝶，缠绕其身边，莎又为了生意而讨好众 ...
修炼1800年的菜菜子来到现代世界，开始新人职场修炼。某次生日深夜回到家中，菜菜子对着自己的生日蛋糕许下了一个朴素的愿望——希望自己能应对职场所有危机，谁知蛋糕里突然跳出了一只会动的香菇！？从此一人一菇吵吵闹闹的职场生活就此开始了。 菜菜子和小香菇面对职场困难展开一系列故事，最终成为互相扶持的灵魂伴侣，共同成长。
童年兄弟意外失散，30年后因一桩罪案相见，两人已身处不同阵营随着对罪案调查的深入，一个多年来隐于幕后的恐怖组织渐渐浮出水面。
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.
据《每日邮报》报道，一部名为《传控》(Take the ball, Pass the ball)的巴萨纪录片将在下个月发行，它主要讲述了巴萨在瓜迪奥拉执教下站上欧洲之巅的历程。
10月8日 22-23赛季德甲第9轮 奥格斯堡VS沃尔夫斯堡
成長した5人、それぞれの想いを胸に未来へ歩み出す青春ラブストーリー
生活在沙特阿拉伯首都利雅得郊区的十岁小女孩瓦嘉达（瓦德·穆罕默德 Waad Mohammed 饰），性格乐观开朗，活力四射。虽然她生活的环境传统保守，但小瓦嘉达不仅穿被老师明令禁止的牛仔裤板鞋，还热衷听摇滚乐。一日，瓦嘉达和邻家男孩阿布杜拉（Abdullrahman Al Gohani 饰）打了一架后，刚巧看见一辆崭新的绿色自行车正在售卖。从此，瓦嘉达满脑子都是这两漂亮洋气的自行车，梦想有一天能买下它跟阿布杜拉来一场比赛。然而瓦嘉达的妈妈（黎姆·阿杜拉 Reem Abdullah 饰）却极力反对这件事。因为根据瓦哈比派的教义，女性是不允许骑自行车的，特别是未婚少女。倔强的瓦嘉达只得偷偷的想办法自己筹钱。她在学校努力贩卖自制的小商品，又报名参加了自己一无所知的可兰经有奖背诵比赛。然而社会约束和宗教束缚却始终阻碍着瓦嘉达，难道她就只能屈服于现实么？