为人忠厚老实的某酒店出租车司机郑建强虽说对女强人妻子罗晓红唯唯诺诺，结婚近十年也因没孩子偶尔有些不愉快，但这对夫妻因两小无猜，彼此也能恩爱体贴，尤其是郑建强，对挚爱的罗晓红俨然就是一个超标准的模范丈夫。然而，他俩做梦都没想到，一个巨大的阴谋突如其来从天而降，而且瞬间就将其二人推入了反目为仇、分道扬镳的陷阱之中！　　郑建强到机场接了一位酒店的客人，来自美国的华人郭毅然老先生，开车带其去香山某敬老院看望他的“老战友”，这才知道其实去看的正是自己患有老年痴呆症的岳母。临近目的地的盘山路上，因躲避急转弯道后冲出的一辆切诺基而翻下山坡，老先生重伤进了罗晓红所在的医院急救，郑建强也负了重伤。事后才得知，驾驶切诺基的恰恰就是老先生的女儿郭琳琳！　　老先生终因心脏病突发去世了，而郑建强因为违章承担了全部赔偿责任，两口子东拼西凑把钱给了郭琳琳。这一对好心的夫妇哪里知道，他们已经一步步迈进了对方精心设置的圈套里！　　原来，郭琳琳钟爱的丈夫韩军也是美籍华人，嗜赌为命，欠下了美国某涉黑人物的大笔赌债。韩军为躲债藏到了北京，郭琳琳跟随回国看望前妻的父亲，一方面要做最后的努力劝说父亲帮韩军更改遗嘱还债，一方面已经做好了最坏的打算：一旦劝说无效，与韩军合谋，不择手段也不能让父亲见到罗晓红母女俩把遗嘱的事儿曝光，为此，两人还办理了离婚手续，为谋取所有的遗产而做了精心的准备。郭琳琳为了解救心爱的男友韩军，铤而走险与其共同策划、实施，走上了一条不归路！　　郭琳琳设计将酒醉的郑建强骗到了床上，恰好让临时回家的罗晓红看到。罗晓红万没想到自己的丈夫会做出如此丑事，而郑建强根本就不知道酒后发生了什么，所有的证据都不利于自己，于是只能默认了妻子的痛斥。二人实在无法过下去了，只有商量离婚……　　郭琳琳加紧对郑建强的进攻，死缠烂打说要跟他过下去，这也让郑建强发觉了其中可能有阴谋，但他的怀疑不但在妻子那里碰了壁，而且连妹妹郑燕和表姐郑艺培也不以为然。另一面，韩军利用收养的病重男孩韩蓬蓬开始发起了对罗晓红的直接攻势，利用罗晓红的善良和自己温文尔雅的表相，很快博得了她的好感。郑建强越发感觉事情不对头，极力劝阻罗晓红远离韩军，反而更造成罗晓红的误解，两人的关系再度恶化，婚姻终于走到了彻底崩溃的边缘！　　对妻子挚爱的郑建强绝望了！他无法接受这个严酷的现实，身心疲惫导致工作失误被辞退，但他依旧咬着牙关注着罗晓红和表妹，希望能找到事实真相，把原本属于自己的婚姻和亲人都夺回来！　　韩军和郭琳琳一次又一次的阴谋在加紧实施着，罗晓红一步步临近了危险的深渊，郑建强竭尽全部的智慧和毅力，一步步接近了阴谋真相的边缘，最终，在罗母透露的历史回忆中和调查的线索里渐渐摸清了郭琳琳韩军的阴谋诡计，并且得到了一个因极度愧疚的阴谋当事人的帮助，于最后的紧要关头将一生挚爱的罗晓红救出了苦海。而郭琳琳和韩军两人也分别在不归路上得到了属于各自的最终结局。　　两对夫妇，都经受了一次婚变，一对由合到真分再归于合，一对由合到假分而归于亡，两条截然不同的人生路上演绎出不同的人性展现。　　大难不死的罗晓红终于明白谁才是最爱自己的人！这一对夫妇在一场关联生死的阴谋中重新谈了一次恋爱，彼此已经无法再分开了……

　　江湖新手逍遥生、剑侠客除去了为祸长安的食婴鬼，却因此陷入了更大的谜团。他们为此前往遥远的灵兽村，一路上结识了魔族少女狐美人、骨精灵和各色江湖人士，收获了成长和情谊，却也被卷入了更大的危机。该动画将融合武侠、玄幻、热血、历险、等元素，向观众呈现一段跌宕起伏的江湖传奇故事！

　　自2013年以来，迪士尼频道推出最新系列米老鼠动画，该系列画风不同于以往，简约复古的同时，又被赋予了新颜艺新气息。除米奇、米妮、唐老鸭、黛茜及高飞等常驻角色外，还有许多本不属于这一动画的其他迪士尼经典角色前来客串。在第一二季中，他们被唱歌剧的鲸鱼打扰，弄碎了Cinderella的水晶鞋，踩了野兽的尾巴，撞上了花栗鼠兄弟Chip和Dale的飞船。而在最新季中，他们拯救了SwonWhite的许愿池，无视章鱼肚子里的老木匠Geppetto和小木偶Pinocchio。一些新的角色，如柯基女王也被适时地创作出来，同样也为这一季米老鼠增添了许多精彩！

　　少年管教中心最臭名昭著的捣蛋鬼贾布意外地被选为雪雕队的队长，然而他的每一步都在机智而富有手腕的老师克鲁·冲的注视下。他们的任务是赢得一场国际雪雕比赛 — 尽管他们来自一个从未下过雪的国家。乍一看，这个想法似乎不可能实现。对于一群所谓的“问题儿童”来说，前方的道路更加艰难。他们必须忍受艰苦的训练，承受那些质疑他们的嘲笑，并克服队内的冲突。更具有挑战性的是，他们的家人几乎没有给予任何支持，而家人往往也是造成他们困境的根源。但这也许是他们最后一次证明自己有资格在这个世界上存在的机会。有人相信他们。也许最重要的是，他们可以再次学会相信自己。

　　《绝地狙击》是一部集枪战、谍谋、犯罪、爆破等元素于一身，且极具反转魅力的动作影片，讲述了狙击手查靖（李晨浩饰）为伸张正义、铲除邪恶毒瘤，带领索尔等队员不畏牺牲、团结奋战，与托尼古所在的邪恶集团展开殊死斗争，在付出惨重的代价后将其击溃，最终战胜黑恶势力的故事。

　　该剧主要讲述清朝乾隆年间，安南之役。镇守南疆的郑将军被诬陷为投敌叛国。吊丝秀才为救乡亲，百里奔袭报信，结果途中误饮迷药昏睡，导致全村被奸臣杀害。他羞愧自尽，变成“开心鬼”（柳航饰）之后却被误会他的“鬼乡亲”们拒之门外，无法转世轮回，成为孤魂野鬼。公元2015年。女主角郝雅（吴业晗饰）与五位同事在温泉小镇撞鬼。男同事宁杰失足坠入当年屠村将军墓室，贪心驱使下偷走将军戒指，被鬼附体。郝雅则出于善心帮助开心鬼轮回，被开心鬼暗中保护。与此同时郝雅因为一次采访，被铜锣湾大B哥（吴志雄饰）误会偷了账本，引来“黑道追杀令”。在黑道追杀和恶鬼的纠缠之下，郝雅被开心鬼一路“拼死”相助，不仅最终将大B哥手下张老六和龙哥等人制服、击败鬼将军，更与暗恋的男同事周小帅擦出别样的爆笑火花。

　　威尼斯，这个古老绵城市，在未来的某一天不幸地被大水侵蚀。政府组织了一支突击队准备进行救援工作，奇怪的是，此次救援工作却成了一次地下战争在地下通道里，发现了一群怪物，更严惩的是突击队员们依个遭到残害，结果， 科学家们在研究中发现，一种奇怪的现象在隐隐地影响着这座城市。就这样，整个城市的人们都面临着危机，和这种奇怪而又可怕的东西展开了激烈的斗争……

　　澳大利亚的范迪门斯，是一个风景秀丽的依然所在，但约在200年前，它却是大英帝国发配罪犯的地方。那些不法之徒远渡重洋来至这片处女地，在士兵的监督下辛苦劳作，不知自由在于何方。　　道尔顿（Mark Leonard Winter 饰）、马瑟斯（Paul Ashcroft 饰）、小布朗（John Francis Howard 饰）、耐德、格林希尔（Arthur Angel 饰）、皮尔斯（Oscar Redding 饰）等人因各种原因成为阶下囚，他们日复一日在范迪门斯伐木，前途一片渺茫。万般无奈之下，众人袭击工头后绝路逃亡。崇山峻岭、灌木丛林、怒涛恶水，这群逃犯不仅要忍受大自然残酷的折磨，还要面对来自人性的巨大考验。为了生存下去，他们不惜吞噬同伴的血肉。弱肉强食，适者生存……

　　After a robbery gone bad, Aaron barricades himself in a rest stop bathroom triggering a stand off with the police.

　　

　　一个美国生物学家偷偷把珍贵的亚马逊银龙鱼带入日本，该鱼肚子里被植入了更珍贵的红龙鱼的卵巢。中途龙鱼让某华人团伙盗走，生物学家急忙聘请侦探调查，同时警方也介入了事件的追查之中。　　侦探社的接线生蒲（芳本美代子饰）由于被派往追查龙鱼案件，根据种种线索显示，她来到一个工厂区内，和神秘的养鱼人夏（浅野忠信饰）相遇，对方头发凌乱，和龙鱼相伴，过着单调的生活。空荡荡的仓库里放满鱼缸，整天回荡着瓦格纳的音乐。每次有人来追杀夏，都被他轻易解决。　　蒲情不自禁对他产生了情愫，但龙鱼的谜团尚未揭开。

　　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.