这部新动画讲述史努比去了太空总署后梦想当一个字航员，然后这梦想成为了事实，他和糊涂塌客被选中参加一个精英太空任务。

　　ITV打算将Georges Simenon的Jules Maigret系列侦探小说改编成电视电影《Maigret Sets A Trap》和《Maigret’s Dead Man》，憨豆先生Rowan Atkinson将在其中扮演主人公法国侦探Jules Maigret。故事发生在上世纪五十年代的巴黎，Jules Maigret是当时有名的探长。

　　日本岩手县山村，浅野家迎来了母亲绢江（音無美紀子 饰）的周年祭典，子女们从四面八方赶来，沉寂已久的老屋重新焕发了生气。祭典过后，子女们商讨赡养老父亲昭男（三国连太郎 饰）的事宜，可是任凭他人如何劝解，固执的昭男始终不愿意离开老屋。　　此后不久，昭男为参加战友聚会来到东京，并顺道看望了在这里辛苦打拼的两个儿子。长子忠司（田中隆三 饰）虽是个体面的公司白领，却为了供养家人和房子疲于奔命；次子哲夫（永瀬正敏 饰）辞去酒馆工作，进入一家钢铁厂，更邂逅了心仪的女孩征子（和久井映見 饰）。　　两个儿子虽各有辛酸，然始终为了幸福不断努力。望见于此，昭男的忧子之心总算略略放下，而甘于一个人的寂寞……　　本片根据椎名诚小说《仓库作业员》改编，并荣获1992年日本电影学院奖最佳作品奖、最佳男主角奖（三国连太郎）、最佳男配角奖（永瀬正敏）、最佳女配角奖（和久井映見）和最佳新人奖（永瀬正敏 & 和久井映見）；1992年蓝丝带奖最佳男配角奖；1992年电影旬报最佳导演奖、最佳影片奖、最佳男主角奖、最佳男配角奖和最佳女配角奖；1992年每日电影奖最佳男主角奖（永瀬正敏）、最佳影片奖、最佳摄影奖和最佳导演奖；1991年报知电影奖最佳男主角（永瀬正敏）和最佳影片奖；。

　　电影讲述从屋顶掉落的被霸凌的高中生和精英黑社会成员身体互换而发生的故事，朴成雄将饰演黑社会成员。

　　これは、夢と希望の物語(ただのクソ)―。

　　平安城内，人类、狸猫、天狗，三足鼎立，共同转动这城市的巨大车轮。下鸭矢三郎（樱井孝宏 配音）是狸猫界名门下鸭家的老三，他虽是狸猫，却能肆意变身为人类的模样，他的恩师是天狗赤玉先生。年老的赤玉法力大不如前，他苦恋着美貌的人类女子弁天（能登麻美子 配音）。弁天美貌绝世、生性不羁，是京都秘密组织“星期五俱乐部”的成员。　　下鸭家的主人总一郎深受狸猫一族景仰，然而已在数年前驾鹤西归，事情经过至今成谜。他留下了四个不成材的儿子：长子下鸭矢一郎（诹访部顺一 配音）生性古板，遇事优柔寡断；次子矢二郎内向自闭，不问世事；矢三郎凡事只讲求有趣；幺弟矢四郎则胆小如鼠。这就是居住在纠之森的下鸭一家，他们的母亲深信总有一天，她的四名孩子都会继承亡父衣钵，成为伟大的狸猫……

　　《熊孩子亚历山大的糟心日》（Alexander and the Terrible, Horrible, No Good, Very Bad Day）根据同名青少年文学作品改编而来，该书曾入选美国教育协会推荐的“100本最佳童书”。该片由导演米古尔·阿塔执导，预计将于2014年10月10日在北美上映。

　　全职家庭主妇克莱尔（朱丽·鲍温 Julie Bowen 饰）与做地产经纪的丈夫菲尔（泰·布利尔 Ty Burrell 饰）养育着两个青春期的女儿和一个十岁大的儿子。克莱尔年过六旬的老父杰（艾德·奥尼尔 Ed O'Neill 饰）新娶了年轻美貌的妻子格劳丽亚（索菲娅·维加拉 Sofía Vergara 饰），加上格劳丽亚和前夫所生的十岁儿子组成了一个新三口之家。克莱尔的弟弟米切尔（杰西·泰勒·弗格森 Jesse Tyler Ferguson 饰）和他的同性爱人卡梅隆（艾瑞克·斯通斯崔特 Eric Stonestreet 饰）则刚从越南领养了一名女婴，兴致勃勃地想要当一对好爸爸。　　这三个家庭各有各的烦恼需要面对和解决，彼此之间的频繁往来也产生了一些不愉快。当难题不断摆在他们面前的时候，他们如何化解矛盾、维持家庭的和睦与欢乐气氛呢？

　　19 世紀、ロシアの諜報機関として活動した葵重政の一族は、ロシアから秘密閉鎖都市を与えられた。そして現代。一族の末裔である姫・夏は、チャンバラおたくのロシア人・ガランを自分の故郷に誘う。そこで彼を待ち受けていたのは、謎の美女刺客軍団の攻撃、そして葵一族の跡目継承に絡むハチャメチャ・トラブルであった

　　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.

该剧讲述了因为心理原因患上厌食症的大龄未婚医生陆若男，因家中催婚而让从事“生活演员”职业的蒋小戈扮演男友，两人从矛盾频频到携手相伴，都遭受过心理创伤却最终互相治愈心结。