凶手就在我们中间

简介：影片围绕失去父母的姐姐在面对追求个人独立生活还是抚养弟弟的问题上展开了一段细腻感人的亲情故事。

简介：

东京山手地区的代代木上原地区。坂西家的住宅就位于该住宅区内。这个家庭由 60 岁的母亲 Aki、她的长子 Yuichiro（公司部门经理）、他的妻子 Kazuko、他们的儿子 Yoshiro 和他们的小女儿 Haruko（在一家葡萄酒公司工作）组成。另外，嫁入商人家庭的长女早苗也因与丈夫和婆婆相处不融洽而前来探望。早苗的丈夫在这次回家途中遭遇意外身亡，之后早苗便住在父母家，每月为父母提供 5,000 日元的生活费。雄一郎抵押了自己的房子，把钱借给在当地经营工厂的和子的叔叔，并用利息补贴生活开支。他还被要求额外支付50万日元，并要求早苗提供这笔钱。她同意了。有一天，早苗、晴子、他们的二儿子玲二和他的妻子美枝一起去甲府的一个葡萄园。我们的导游是酿酒工程师黑木，他对早苗的同情远不止于此。回到东京后，早苗去银座为母亲买60岁生日礼物。他被同学 Kiku 邀请到一家水果店，并被介绍给她的熟人 Gojo。

简介：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.

简介：本故事讲述了善良的快递员秦奋因一次豪宅的送货经历，被地主会发现，就此打赌，赌金钱能否改变这个良善的青年。因此卷入了一场每天都会收到100万的人性游戏中。一夜暴富的秦奋在从穷小子成为大富翁的过程中一步步迷失自我后找回初心的故事。

简介：在都市中生活的人猿泰山在参加一次聚会中，突然感觉到自己该“回家”了，并与好朋友一同回到了非洲；匪徒挟持老人去神秘的非洲探宝

简介：他们一直以为这个故事是大人讲来骗小孩子的，直到他们在野外游玩时亲眼见到了黑魔王的出现，并被黑魔王中下不可挽回的魔咒。

简介：巴里（汤姆·克鲁斯 Tom Cruise 饰）是隶属于美国航空公司的一名飞行员，长期遭受公司压榨的他被中情局特工蒙迪（多姆纳尔·格里森 Domhnall Gleeson 饰）招募，蒙迪将巴里派往南美洲，进行秘密的任务。　　某日，大毒枭巴布洛找到了巴里，命令巴里替他运送毒品至美国国境之内，碍于自己的身份和所背负的任务，巴里只得就范。当巴里的运毒行为曝光后，为了保护这位特工，蒙迪挺身而出，将他和他的妻子露西（莎拉·赖特 Sarah Wright 饰）送往位于阿肯色州的一个偏僻小镇保护了起来。巴里的生意越做越大，他不仅继续运送毒品，甚至还做起了贩卖军火的生意。

简介：年轻的外交官被指派任务，携带赎金营救被绑架的外交官。　　1986年黎巴嫩内战期间，一名韩国外交官在贝鲁特被绑架为人质，下落不明。　　2年过去了，人们早已遗忘此事。外交官敏俊（河正宇 饰）接到了证明人质还活着的电话。带着既定的任务，敏俊携带赎金被派往贝鲁特营救人质。　　但是敏俊一踏上贝鲁特就遇到了麻烦。幸运的是，敏俊在当地的出租车司机潘秀（朱智勋 饰）无意中的帮助下成功逃离了机场。　　尽管潘苏的恶作剧令人不信任他，但这两个不太可能的盟友必须穿越被摧毁的、战火纷飞的贝鲁特街道，才能将这名等待已久的人质带回家

简介：原为暴走族的教师鬼冢来到了充满问题的高中，向有烦恼的学生们展开了热血授课。时代从平成变成了令和，出现了在当时没有的SNS的诽谤和中伤的纠纷。

简介：范坚强(徐峥 饰)是一名国家二级咨询师，开着一家普通的心理诊所，挣着一月四千的工资，无房无车，却有着一个性感美丽的空姐女友苏茜(林鹏 饰)。中秋节是他和女友约定好拜见岳父岳母的日子，在紧急结束了对病人掉坑男（仁龙 饰）的心理治疗后，和女友开着向死党吴奋丹(郭明翔 饰)借的车从上海开往苏茜父母杭州的家。一到苏茜家，范坚强就被眼前别墅的规模震撼的瞠目结舌，而更他吃惊的是，苏茜的父亲，竟然是自己的病人风衣大叔苏伯虎(许绍雄 饰)。苏伯虎是一名很有名望的经济学教授，分外看重名声的他不相信范坚强的职业操守，担心着自己不为人知的秘密被范坚强所泄露，令自己身败名裂，所以一心想要把范坚强赶走。而范坚强事先准备的应对岳父岳母的考题也无法骗过先前为自己出谋划策的苏伯虎，只得坦诚相待。知根知底的二人一见面就冲突不断，笑料百出。一穷二白的范坚强到底能否获得岳父的认可，最终搞定岳父大人？

简介：麦蒂（克里斯汀·斯图尔特 Kristen Stewart 饰）是一个12岁的小女孩，她一生中最大的爱好就是和热爱极限运动的父亲一起外出攀岩，在这方面，小小年纪的麦蒂已经是专家级的选手了。一次意外中，麦蒂的父亲从岩壁上跌落，身受重伤，无法动弹的父亲和巨额的医疗费让这个家庭的幸福时光画上了句点。　　眼看着家庭就要崩溃，古灵精怪的麦蒂想出了一个“快速敛财”的妙招——抢银行。麦蒂找来了好友古斯（马克斯·希尔莱耶 Max Thieriot 饰）和奥斯汀（科宾·布鲁 Corbin Bleu 饰）帮忙，他们一个是电脑高手，一个是机械专家，两位好友的帮助加上自身高超的攀爬技巧，麦蒂的“犯罪计划”能否获得成功呢？

简介：本片依据1968年的同名电影及2001年的同名百老汇歌舞剧改编而成。会计师雷欧·布鲁姆（马修·布罗德里克 Matthew Broderick 饰）来到纽约百老汇最糟糕的制作人迈克斯（内森·连恩 Nathan Lane 饰）的办公室为他处理帐务，无意中提及他可通过制作一部最失败的歌舞剧来贪污两百万美元投资。迈克斯说服了一直怀有制作人之梦的雷欧与他一同制作这台歌舞剧，他们采用了前纳粹弗朗兹（威尔·法瑞尔 Will Ferrell 饰）的笑话剧本《希特勒的春天》，雇用了臭名昭著的同性恋导演罗杰（加里·毕什 Gary Beach 饰）及助手卡门（罗杰·巴特 Roger Bart 饰），并找到了一位毫无表演经验的瑞士美女乌拉（乌玛·瑟曼 Uma Thurman 饰）兼当秘书和女主角。可没想到的是，这样一部铁定失败的闹剧竟意外大获成功……　　本片被提名金球奖最佳歌舞剧及喜剧电影、最佳电影原创歌曲、最佳喜剧及歌舞剧男主角（内森·连恩）和最佳喜剧及歌舞剧男配角（威尔·法瑞尔），并获格莱美奖最佳电影电视或其他视觉媒体原创歌曲奖提名。