灰太狼费尽心思创造出各种发明来捉羊，却屡次失败。于是灰太狼来到发明星球，去抢宇宙级大发明家——妙多多发明的发明战车聚宝号来捉羊。慢羊羊得知后，准备造出另一个聚宝号对付灰太狼。但由于慢羊羊是普通发明家，不仅失败，还因此失去了发明能力。于是，小羊们也来到了发明星球。一踏上发明星球，小羊们就被星球上不可思议的人和事所吸引：发明星球卧虎藏龙，居民都拥有自己专属的发明能力，是某一领域的发明高手。小羊们通过新闻找到了妙多多，但聚宝号已经被灰太狼给抢走了。妙多多便给了小羊们他的另一辆发明战车——妙宝号来对抗灰太狼的聚宝号。由于聚宝号和妙宝号没有发明星球的能量来源——能量之芯，无法发挥最大功力。灰太狼便想尽各种办法，创造出各种发明来抢夺能量之芯。羊羊们便用妙宝号阻止灰太狼。妙多多还告诉小羊们只要妙宝号用发明帮助别人，积蓄能量，再配上能量之芯，可以使慢羊羊回复发明能力。于是，小羊们开始发挥奇思妙想，用发明解决居民们的花式求助。
内详
这部纪录片详细介绍了太阳系的起源、形成，探讨人类是否是太空中唯一的智慧生命。通过对专家和宇航员的采访、多方航天航空机构的支持、以及人类在航天航空探索中拍摄到的精彩画面，观众得以全方位探索太空，追溯人类进入太空的惊人旅程以及令人难以置信的发现，见证航天航空的巨大挑战与飞速发展，形成一部对太阳、邻近行星及其卫星、小行星的权威指南，极具教育意义。
美国小镇上，四岁女童阿曼达突然失踪，她的姨妈和姨夫找到私家侦探Patrick Kenzie（Casey Affleck 饰），委托他调查外甥女失踪的事情。 Patrick Kenzie和女朋友兼工作搭档Angela（Michelle Monaghan 饰）开始了艰难的调查。随着调查的深入，他们发现阿曼达的母亲Helene是一个地道的瘾君子，她对毒品的关心程度似乎远胜于女儿的失踪，调查围绕她展开之后，毒品贩子、诈骗犯、虐待儿童的人渐渐浮出水面，Detective Remy Broussard（Ed Harris 饰）以及警官Jack Doyle（Morgan Freeman 饰）也加入了案情的调查，但是阿曼达的名字却越来越遥不可及，Patrick Kenzie也站在了道德的十字路口，开始思考怎样才算是“伸张正义”。
徐天鹤（王引 饰）和妻子（蝴蝶 饰）结婚多年，夫妻两人的感情一直非常的恩爱，他们唯一的遗憾就是无法拥有一个属于他们的孩子。邻居家一个名叫阿琳（王爱明 饰）的小女孩，因为不受父亲和继母的喜爱，常常孤独的一个人在后门玩，她唯一的朋友是一只小猫。 不忍心看到阿琳寂寞的样子，徐天鹤夫妻两人经过同邻居的协商，决定领养阿琳。在徐家，阿琳终于感受到了家庭的温暖和亲人的呵护。就在一家人其乐融融之际，阿琳的亲生母亲史小姐（李香君 饰）忽然现身，想要带走阿琳，这一举动自然遭到了徐天鹤夫妻的拒绝，可是史小姐实在舍不得女儿，于是以探望孩子为理由，成为了徐家的常客。
InterweavingstoriesoffourdifferentwomeninvolvedinthesexindustryoffersaglimpseintothedarkunderbellyofLosAngelesandthetaboolifestyleofasexworker.Ateenrunaway,singlemotherandtwocareerescortsinterconnectthroughtheirownpersonaljourneysfilledwithloss,betrayalandthestruggletosurvive.
被戏称为“铁勺小子”的陈伟不谙世事，心比天高，一心想做中国最伟大的厨师，其实他不过是刚从烹饪学校毕业的学生。虽然在柱子朋友麻三的婚宴上他“大显身手”，但也因此丢掉了橡胶厂食堂的工作。一次偶然的机会，百无聊赖的陈伟见到了正在游戏厅里训导学生的某小学女教师邓小亚，使他眼睛一亮，邓老师...
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.
男主和哥们外出游玩，发现了曾在夜店遇到过的女郎，于是二人又偷偷摸摸做了一次，还差点被朋友发现，夜店女郎的闺蜜是个淑女，引起了男主哥们的性趣，于是各种勾搭，终于把淑女骗上了床，谁知淑女并不满足，不仅勾搭男主的哥们，更是跟男主玩起了车震，还号称自己是处女，两男两女互相换着玩，两个女人满足之后，决定开始新的旅程，原来她们就是为了不断冒充“处女”，去狩猎各地的男人来满足自己的欲望....
该剧改编自人气日漫《监查役野崎》，讲述泡沫经济崩盘后，在金融当局转换既有政策的物欲横流的时代里，银行员野崎坚持正义的故事。
影片主要讲述单亲妈妈为怀揣梦想的儿子治疗残疾双腿四处求医的艰难痛苦历程。主要凸现出小人物汇聚的大梦想正能量，更接地气的反映真实社会生活，涉及到了家庭教育、妇女儿童、交通安全、医疗事故等方面的坚持梦想的情感励志生活。
若童、一芝、小艺三位初出茅庐的模特，面对时尚圈的光鲜靓丽，各自心怀站在T台巅峰的梦想，而在这一过程中，友情、爱情、亲情、诱惑、仇恨交织在一起，这是一段离奇梦幻的青春历程，是一场活色生香的玫瑰战争，有人站到了名声欲望之巅，方才感到高处不胜寒；有人因为疾病挫折而黯然离场，却意外重拾人生的美丽，而影片的主人公若童，最终在这美丽的王国中收获了最为珍贵的亲情……