剧情看似异想天开，其实也写出了一些精明的人趁机混水摸鱼。继《再见女郎》之后，擅长以喜剧方式讽刺大都市荒谬人际关系的导演赫伯特．罗斯再度推出此片，也是男主角迈克尔．Ｊ．福克斯《回到未来》后又一轰动之作。迈克尔．J．福克斯在片中饰演从肯萨斯州到纽约谋业的青年布雷特，只能在一家国际贸易集团充当送信小弟，但也因此近水楼台听到了不少公司的内幕。当一名高级主管职位出缺而没有补人时，布雷特干脆利用他的办公室擅自发号施令，成为隐身的主管，甚至引起老板娘对他垂涎。导演赫伯特．罗斯把这部主要发生在企业大楼内的办公室喜剧拍得还算生动流畅，对职场生态尤多嘲讽。不过主要的吸引力还是来自福克斯的表演，他将当代年轻人渴望一步登天而不惜冒险的处世态度演得活灵活现，甚能引人共鸣。
真实故事，恶魔继母打死儿子让女儿顶罪，正义会迟到但永不会缺席#小委托人
律师正烨（李东辉饰）一心只想着功成名就，对身边人和事不闻不问的他，却被多彬（崔明彬饰）和敏俊（李周元饰）小姐弟所牵绊。就在收到盼望已久的著名律师事务所录取通知的那一刻，10岁的多彬向正烨自白称杀害了自己7岁的弟弟，而这一切又与多彬的母亲智淑（柳善饰）有关。感到后悔和抱歉正烨，决定揭开多彬母亲隐藏的秘密……
讲述16岁男孩MaxRichards被迫与一名致命、有魅力的杀手生活在一起。
"NoveOspitiperunDelitto"isamediocregiallointhetraditionofAgathaChristie’s"AndThenTheyWereNone".Ninemembersofthesamefamilygotoanisland,wherenobodylives-buttheheadofthefamily(ArthurKennedy)ownsanicehousethere.Problemisthatheandhisthreesonskeepadarksecret,andthisdarksecretbeginstohauntthemassoonastheyareontheisland.Onebyonetheyfallvictimtoamysteriouskiller...(IMDb)
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.
Lulu Danger's unsatisfying marriage taking a turn for the worse when a mysterious man from her past comes to town to perform an event called "An Evening With Beverly Luff Linn; For One Magical Night Only."
加布里埃尔梦想成为电影音乐作曲家，但梦想迟迟未实现，业余教授音乐课的收入几乎难以维持生计。商业学院的一位老同学建议他担任美国一家殡葬企业的巴黎商务经理，他接受了。为了走进这个行当，在去“天与地”公司任...
大龄未婚青年：麦圣男（于谷鸣饰）、魏唯（王钰饰）和韩笑（唐昕）在假期聚首，三人为了给前去参加音乐交流赛的夏小亦（美加佳饰）凑应援团，在“出租情侣”的网店下了订单。机场内一番啼笑皆非的“认亲”后，一行人踏上了前往威海的旅程。旅行中，中韩混血吉秀贤（袁昊饰）对韩笑暗生好感，但心思细腻的他发现，其实麦圣男与韩笑情愫已生，只欠东风，凭着极高的职业操守，他决定暗中推波助澜，上演一出动人心弦的攻爱大计划。几番起伏曲折，圣男终于鼓起勇气浪漫告白，赢得了韩笑的“美人心”。
本作改编自同名科幻小说，曾于2018年推出由梶裕贵配音的有声小说，剧集以2030年为舞台，讲述了工薪族摘木健一（梶裕贵）因感情受挫而购买了人型AI作为妻子，开始了婚姻生活的故事。
身罹绝症的吴领弟，与年幼弟妹相依为命，与恶男钟无二同居于一单位内，二人经常发生冲突，无二干着买卖贼赃的生活，其女友常协助他收藏赃物领弟为安顿弟妹日后的生活，甘愿嫁与金山伯作填房，无二洞悉一切后，激发起内心的怜悯，决意使她在有生之日获得快乐，并答应照顾其弟妹。在床头金尽时，无二挺而走险再干非法勾当，却遭警方埋伏更被匪帮误为出卖者，誓要报仇，在无二往见领弟最后一面后，遭人伏击，究竟无二命运如何呢？
电影《一生有你》讲述了沉迷于文物的考古系高材生张露白，在机场稀里糊涂“捡”到了台湾寻亲女孩陆念念，由于不知道该把她送到哪，只好带回家留她暂住。与此同时，他也开始帮助陆念念一同寻找亲人。该片由徐秀林、崔可法两位老戏骨诠释跨越海峡60年的祖辈爱情，新生代演员徐海乔、刘殊含饰演的角色，则是在阴差阳错下，从邂逅到相恋，串起了两位老人的爱情故事。