内详
在备受瞩目的电影《雷神之锤》（Thor）公映的当天，Syfy斗胆退出同题材的电视电影《无敌索尔》（Almighty Thor）。在该片中，瓦尔哈拉殿堂（北欧神话主神兼死亡之神奥丁接待英灵的殿堂）突然裂开一道地缝，破坏与灾难之神洛基从地狱中逃出并偷走了无敌神锤。洛基打算用神锤毁灭美国洛杉矶，雷神索尔是唯一能阻止他的人
17年前，三个好朋友相约上山，不料遭遇意外，被困雪山，幸好最终成功获救。自此三人成为生死之交，多年来感情深厚。泰贤（池晟 饰）是个兢兢业业具有正义感的消防员，与妻女过着清贫而和美的生活；仁哲（朱智勋 饰）就职于保险公司，为人聪明机灵，常常投机取巧；民洙（李光洙 饰）是三人中混得最不济的，经营着自己的小生意，平日很依赖这两位好朋友。 为了骗取高额保险金，仁哲联合了泰贤的母亲，策划了一起抢劫纵火案件。素来胆小怕事的民洙被仁哲说服，也参与了这起案件。然而事情并没有按照计划进行，悲剧接连发生。三个好朋友，共同卷入了这起悲剧的漩涡中心。
传言，一伙盘踞在鸟笼山的人正在秘密制造一种很厉害的武器———“大杀器”（大规模杀伤性武器），而另一伙人正在密切关注这个传闻。他们派出了自己的特工，打入鸟笼山内部进行侦查。随后，他们派兵前来攻打鸟笼山……短片最后才揭秘这个引得世界关注的“大杀器”究竟是什么，可谓悬念十足 《鸟笼山剿匪记》
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.
一部充满动作戏的间谍惊悚片。娜塔莎·罗曼诺夫/黑寡妇遭遇与她的过去相关的一场危险阴谋，将直面自己那些更为黑暗的经历。一股不惜一切要击倒她的力量袭来，娜塔莎必须面对自己在成为复仇者的很久之前那作为间谍的过往，和曾远离的破碎关系。
12月18日 2022世界杯决赛 阿根廷VS法国
本片是《罪途》三部曲的第二部，紧接《罪途1之死亡列车》，后续《罪途3之正义规则》，三集共同讲述了一个故事。 上集的最后，乘警发现自己的物证有误，而且其他几位乘客各执一词，使得案件更加扑朔迷离。在调查陷入僵局之时，一桩十年前的校园暴力案件浮出水面， 当年的真相被人掩盖，真正的犯人又会是谁？
二战时期，乔尼·琼斯是一位被派往欧洲的美国战地记者。在荷兰，他被卷进了一个错综复杂的刺杀阴谋，这一阴谋也和被绑架的荷兰外交官以及间谋们及切想得到手的一份情报有关……
6月13日 2022赛季中超第一阶段第3轮 深圳VS梅州客家