扎布里斯基角

简介：曾经的男孩组合明星与天赋异禀的年轻鼓手建立了友谊，意外获得了第二次成功的机会。

简介：剧情简介暂缺，敬请期待

简介：年轻时候的男主角一直有着要成为歌手的梦想，并一直在为这个梦想不断的奋斗，但最终未能如愿成为歌手。男主角的妻子因为有这样的丈夫，所以只能默默为这个家庭付出，同时也消耗了自己的青春与健康。妻子从某一瞬间开始不知不觉睡觉的情况越来越多，而且不以为然，最后检查出患上了嗜眠症。而男主角忽略家庭只为了自己的唱歌兴趣，使得妻子的病情进一步加重，想要帮助妻子缓解病情，不是一件容易的事情。

简介：影片是由上海世像文化有限公司和上海致灵文化传播有限公司联合制作出品的网络电bbb。这是一部兼具喜剧、爱情、动作题材的网络电影，通过神秘的职业——狗仔队，讲述镜头背后娱乐圈的种种奇闻异事，恩怨情仇。更有香港喜剧演员黄一飞加入，令影片“笑果”观感锦上添花。

简介：一名单亲妈妈（塔拉吉·P·汉森 Taraji P. Henson 饰）过着困顿的日子，生活混乱失序，甚至无意间成为罪案嫌疑犯。她本就对人性失望，而现在要想脱离困境，唯一的转机却是要对身边的人付出信任。

简介：清雍正年间，年羹尧得知雍正对自己猜忌，派人将数年敛聚的财富藏进西北大漠魔鬼城，随后，他下令诛杀了全部埋宝者。200年过去了，这批宝藏的下落成了个谜，好多寻宝人最后不得善终。如今，刘清（张国民 饰）的商队和鲁大刀（冯恩鹤 饰）的杂牌军又加入到寻宝行列中。一天，采药的中医王洪水（田少军 饰）无竟间发现了藏宝图，归途中遇见濒临死亡的维族女孩阿依古丽（麦小琴 饰），他将其接回家中救治。鲁大刀贪恋阿依古丽美色，将其抢回帐中，王洪水不忍阿依古丽落入虎口，拿藏宝图与鲁大刀交换。宝图到手后鲁大刀反而疑心生暗鬼，终于在梦游时将藏宝图丢失......

简介：本杰明是一个这样的人：三次元现实世界中，他是一个十足的屌丝 Loser，难以找到存在感，没有时尚感、没有朋友，也没有女朋友。但是二十五岁的他却是一个的电脑极客，拥有对数字技术不可思议的天赋。而影片中另一位主人公马克思是一个渴望“黑客世界”的潜在革命者，他注意到了本杰明在 网络方面的惊人才华，马克思、本杰明和神童斯蒂芬以及保罗私人组建了黑客组织CLAY，并且为了正义入侵国际安全系统。他们凭借高超黑客技术的所为引起了德国秘密警察组织、欧洲刑警组织的重视，并且一个邪恶的黑客将他们视作威胁，想要将他们除去。本杰明因此感觉到自己正在面临生死攸关的考验，并且他们的目标似乎不值得他付出如此大的代价……

简介：北极圈内小镇，少年卢克发现因熊妈妈被抓回北极野外而在自家仓库偷吃东西的萌熊熊小佩左。如果小熊被发现，就会被送到动物园供人参观。勇敢的卢克决心送这个小吃货回到妈妈身边，只身一人带着小熊穿越千里融冰，开启了极地生存游戏，掉入冰窟，遭遇百年一遇的暴风雪，又有居心叵测的猎人追击，少年和小熊能否平安到达熊妈妈身边？

简介：主角罗立松是一名恪守职责的老警察，在一场意外中痛失爱子，但对方下落不明，为证明儿子并未失踪，临近退休的罗立松四处奔走寻找儿子的下落，最终皇天不负有心人，重于找寻到了儿子的下落，不仅还其清白，更证明人民警察“忠诚可靠、服务人民、竭诚奉献、作风优良，不负使命”的精神。

简介：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.

简介：暂无简介，敬请期待

简介：In 1925's historic great race of mercy, a group of brave mushers travel 700 miles to save the small children of Nome, Alaska from a deadly epidemic.