情场老司机范凡在机缘巧合之下决定开办一个“男神训练营”，用自己独到的恋爱心得助那些在爱情里苦求不得的单身狗们进化成“最佳男友”一场婚礼上的“实践教学”让伴娘女神被套路之下的真心打动，几个徒弟都拥有了梦寐以求的爱情。但作为“专家”范凡自己的感情生活却是剪不断理还乱……
大野康臣（成田凌饰）在一家补习班教课，拥有英俊外表和高超智商的他虽然非常容易获得旁人的好感，但因为其一根筋的头脑和几乎为零的情商，大野的恋爱经历也是零。每一次和女孩子约会都会以失败告终，即便是这样，大野也依然对于恋爱和婚姻怀揣着憧憬，并且不知道自己的问题究竟出在哪里，直到有一天，一个名叫秋本香住（清原果耶饰）的学生指出了大野的症结所在——他根本就不会谈恋爱。那么，要怎样才能够变得擅长恋爱呢？大野向唯一可以依赖的秋本发出了求救信号，虽然秋本对于恋爱的理论知识非常的充沛，但实际上她的恋爱经历也是零，于是，两个恋爱菜鸟开始了对于爱的求证。
这个世界,是非正义,邪恶与黑暗,永远并存.拉贾与朋友,被迫成为黑帮,沦为政治斗争的"拳头".政治讲求的就是利益,政客为了利益,谁都可以出卖.当拉贾要被牺牲时,拉贾做出了反击,最后,拉贾是成功逃脱,还是命丧接头呢......
公演结束后，邀请《披荆斩棘 第二季》的嘉宾们来到练歌房，通过各类趣味挑战项目集齐“音符”，解锁福利。
强强联手！成龙和西尔维斯特·史泰龙两位重量级的动作男星终于要合作了！这部新片暂命名为《Ex-Baghdad》，将由《极品飞车》、《勇者行动》的导演斯科特·沃夫执导，剧本由《摩纳哥王妃》的编剧阿拉什·阿梅尔编写。
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.
瑞秋（凯伦·皮斯托里斯 Caren Pistorius 饰）和丈夫正在分居之中，目前由她独自抚养着年幼的儿子凯伊（加布里埃尔·贝特曼 Gabriel Bateman 饰）。离婚事宜的商讨令瑞秋心力交瘁，睡过头的她眼看着就要迟到，却不巧碰上了高速公路大堵车。 明明是绿灯，瑞秋却被停在她前面的一辆大卡车拦住了去路，失去耐心的瑞秋狂按喇叭，哪知道却惹恼了卡车司机（罗素·克劳 Russell Crowe 饰）。卡车司机命令瑞秋为她的不礼貌而道歉，瑞秋拒绝了，此时的瑞秋还并没有意识到，自己已经引火烧身。卡车司机是一名精神病患者，刚刚放火烧死了要同自己离婚的前妻一家子。他掉包了瑞秋的手机，开始对她进行人肉搜索和疯狂报复。
《喜欢就是喜欢》动画全集是一部剧情与画风俱佳的动漫，讲述羽柴空是个身体先于头脑行动，永远都是靠一根筋想问题的男孩子。虽然外表十分帅气，为人却很轻佻。在一次疏忽中，空从学校的窗户摔了下来，等他住了一段时间的医院之后，耐不住寂寞的他决定提前返回学校，没想到校园里等待他的是转校生藤守直。在一片混乱的状况中，空开始了和直的宿舍生活。空似乎完全忘 记了当初事故的起因。然而，空的坠楼事件似乎并不像看起来的那样简单....
1890年代，两名灯塔管理员试图在他们生活在偏僻而神秘的新英格兰岛上时保持理智。 随着雾角的摇摆声响彻空中，沉默寡言的前伐木工人埃弗莱姆·温斯洛和两鬓斑白的灯塔管理员托马斯·韦克踏上了十九世纪末新英格兰沿岸一个僻静且了无生气的岛屿。 在接下来四周艰苦的工作和不利的条件下 ，俩沉默寡言男人除了彼此以外，没有其他人的陪伴，被迫忍受，仇怨与日俱增。 然后，在恶劣的预兆中，狂怒而无休的暴风使看守员受困于本就不宜居的火山岩，助长了长期的野性饥饿；极度痛苦；使人躁狂的隔绝以及恐怖的酒后幻觉。现在，精神错乱得令人窒息。 还可以从无形的牢狱中逃脱吗？
美国怀俄明州的西部，沉默寡言的农夫恩尼斯（希斯•莱杰饰）和热情开朗的牛仔杰克（杰克•吉伦希尔饰)一道被派到山上牧羊，那里人迹罕至，他们只有与羊群为伴，生活单调无味。一个天寒地冻的夜晚，在酒精与荷尔蒙的作用下，他们做了“不该做的事情”，也就此他们在断背山上度过了人生中最美好的时光。
（译制公司：上海电影（集团）公司上海电影译制厂）2028年，专事军火开发的机器人公司OmniCorp.生产了大量装备精良的机械战警，他们被投入到维和和惩治犯罪等行动中，取得显著的效果罪犯横行的底特律市，嫉恶如仇、正义感十足的警察亚历克斯·墨菲遭到仇家暗算，身体受到毁灭性破坏。借助于Omni公司天才博士丹尼特·诺顿最前沿的技术，墨菲以机械战警的形态复活。数轮严格的测试表明，墨菲足以承担起维护社会治安的重任，他的口碑在民众中直线飙升，而墨菲的妻子克拉拉和儿子大卫却再难从他身上感觉亲人的温暖。感知到妻儿的痛苦，墨菲决心向策划杀害自己的犯罪头子展开反击……