收视最高的六点半新闻报道是主播的必争之地。在新闻电视部，资深主播文慧心（佘诗曼饰）和梁景仁（马国明饰）分成两派、平分秋色，前者一番兴风作浪，终攀上管理层之位。黄金时段女主播的空缺，引发连场风暴！早、午、晚不同时段的女主播许诗晴（高海宁饰）、张家妍（李施嬅饰）、徐晓薇（何依婷饰），三人为求上位，不顾师徒情谊、新闻道德，在公不择手段争取表现，在私互挖疮疤、互相伤害。最终，有人从“冷宫”中找到战友，有人跳出主流另觅出路，有人却成为自己最讨厌的人。新人刘艳（王敏奕饰）一腔热诚，目击明争暗斗，只求不被同化、保持理想。心以为操控结果，便能掌握权力，然而老总监和老板另有盘算，不惜揭开她的不堪往事，拉她下马，以达成最终的改革计划。大家只顾争夺眼前一杯水，却忘了身后原来有一片汪洋。
当初因为宗教问题，安吉拉（艾米丽·沃森 Emily Watson 饰）和丈夫的婚姻并没有得到亲友的赞许。如今他们已经有好几个孩子，可是在美国生活得并不如意，贫穷折磨再加上不久前的丧子之痛，这家人决定搬回家乡爱尔兰，以祈求在那里获得富裕一点的生活。 事情并没有他们想象的那样顺利，在家乡，他们仍然遭遇着亲友冷眼，开始了艰难为继的新生活。每当丈夫没有勇气干些琐碎活扛起
著名电视谈话节目《有一说一》的主持人严守一（葛优）在去电视台录节目时，把手机忘在家中，手机中所藏的他与情人的秘密被妻子余文娟发现，后者想起他人前人后的两张脸时，觉得婚姻失去意义，提出离婚。不久，戏剧学院台词课教师沈雪（徐帆）成为严守一新女友，两人度过一段快乐时光后，沈雪发现严守一的手机响铃方式由震铃改成了震动，产生猜疑和嫉妒。 原来严守一一直割舍不掉秘密情人——某出版社女编辑武月（范冰冰）。武月在火车餐车上与严守一偶然相遇后，开始对他穷追不舍，要他为出版社写书。因为武月能帮下岗的妻子余文娟找工作，严守一答应下来，不久两人成为情人。而为了不让沈雪发现武月的存在，严守一开始不断对沈雪说谎，生活朝一团糟糕方向发展。
1939年的河南安阳，一件惊天宝鼎出土引发了争夺，却不料引来日军，一场真真假假，日军与村民的较量上演。为了护鼎村民多人丧命，一心抢夺宝鼎的当铺刘掌柜最终良心发现，炸毁假鼎，与日军同归于尽，保全真鼎。
美女阿milk（叶玉卿饰）与阔少老公（许绍雄饰）相恋多年，终修成正果，步入洞房。不料老公由于太兴奋而死在床上。然而阔少的鬼魂仍弥留其左右，保护她。阿milk守寡后终日在好友Mary（童玲饰）的派队里醉生梦死，与新男友Ronald的恋情也是不尽人意。一日偶然的机会，在 画廊闲逛的milk遇到落魄画家（汤镇业饰），二人突遭打劫被歹徒捆绑在一起。一段奇缘即将展开
一家专门训练僵尸的机构，一方是专门捣乱的道士。僵尸 道士大斗法，搞怪的僵尸训练。
剧情 一个法国少年和一个阿拉伯少年自幼便是街头的混混，他们缺乏家庭的温暖和社会的关注，以偷窃为乐，但当他们自认为最愚笨的同学摇身成为大富翁时，他们目瞪口呆，习惯了街头恶习的两人在辞工后不久，又陷入了爱情的困惑，最终都被警察带走，但他们对生活已经绝望，剩下的是两人间不变的友谊。 更多剧情 幕后花絮 本片属于波尔电影，也就是反映在法国的阿尔及利亚后裔人的电影作品。导演沙里夫是阿尔及利亚后裔，本片根据他的自传体小说改编，非常直白地将当时法国社会的阴暗现实反映出来。影片最后点出主题，渴望拆除种族的藩篱，超越肤色和种族和平友好地生活下去。整部电影的叙事手法平平，只是倒叙一段类似“戏中戏”处理得较有复古味道，不失讽刺韵味，人物的心理描写也细致准确，属于一部表现社会底层青年生活的社会写实作品。
Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
距第一部美国派已有10年，三个没救的新处发现了藏在高中图书馆的“索爱天书”。不过不幸的是，书已经残缺不全了。靠着书中不完整的建议，三人踏上了滑稽的破处之旅。