CharlieisanimmigrantwhoenduresachallengingvoyageandgetsintotroubleassoonashearrivesinAmerica.
小石费尽心思甩开家人，在网上两人一起想合伙劫持有钱的农场老板干票买卖。于是，西部的小镇上迎来了三位蒙面的不速之客，经过周密细致的准备，三个人使出浑身解数，多次蹲点绑架，然而失控的天气、彪悍的大汉、突如其来的摩的司机让他们频频失手；与此同时，媳妇也报了人口失踪到处找寻小石，西部荒野上连番上演了一场场荒诞与戏剧对决的追逐好戏。
When a shower of massive meteors threatens an extinction level event on Earth, the world's greatest minds devise a dangerous plan that will take the planet off its axis in order to avoid the impact.
艾米·沃尔什10年后又重新回到了费城参与了一起抢劫案。而警察沃伦•默瑟发现了艾米的犯罪踪迹并开始追捕艾米，而艾米则沉浸在自己的犯罪行为中。她不甘心自己的父亲被沃伦送进监狱，一直想要报复……
本影片讲述了美妍、长坤、元凯等人在荒岛上搜寻失踪人口的过程中，发现了岛上巨兽以及植物的体内含有能够突破细胞分裂次数的特殊成分，对这一被学术界称之为“海夫利客极限”的定论进行提取研究后，解读了大自然中某些不为人知的秘密的故事。在寻找的过程中，遭遇了各种狂暴猛兽的袭击，他们究竟是命丧兽口？还是力挽狂澜？
Follow the heartwarming journey of 2 orphan girls whose only wish is to find a home for Christmas. With a little help from their guardian angels (Dick Van Dyke and Angela Lansbury), they discover miracles can happen when you believe.
Raksha Dave and Dan Snow access a variety of new excavations.
美玲（马丽 饰）即将临盆，她的丈夫徐东（章宇 饰）只好将家中心爱的狗托朋友寄养到别处。马千里（张志勇 饰）是债务缠身的建筑商，他在穷途末路之际，偶然接收了徐东的宠物。不幸的是，这只狗的死亡让两个站在人生岔路口的失意者狭路相逢，满腔怒火的徐东在复仇的道路上屡战屡败，但却发现了马千里不为人知的一面。与此同时，美玲也意外的发现了徐东的秘密……
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.
她是青春叛逆的火辣女小瞳（刘羽琦 饰），为了报复出轨的男友而进入空校。她是率性飒爽的冷酷女刘静（赵荣 饰），接受小瞳父亲之命暗中保护小瞳。他是特立独行的型男明哲（黄又南 饰），因被小瞳的独特而吸引，随之进入空校。他是看似温良敦厚的特工小唐（方力申 饰），为了揪出商业间谍而进入了培训班。四个人的命运从此纠结在一起，空校里的生活欢乐频频，却也时有蹊跷发生。小瞳和刘静竟阴差阳错地成为了姐妹，小瞳和明哲也开始炽热相恋，小唐似乎也恋上了小静，可谁知道这一切竟然包裹着一个巨大的阴谋…… 当浪漫变成迷局，温柔背后是一个个不可告人的秘密。螳螂捕蝉黄雀在后，究竟是爱情还是谎言，一场关于真爱的无间道就此展开……
公映日期: 14. 03. 1985. 製作地区: 香港. 导演, 李作楠. 演员: 艾蒂, 八神康子, 金姬美, 张佩华, 常山, 彭刚, 吴燕, 刘引商, 荆国忠, 欧国珍, 王復雄, 龙头, 张宝荣, 李德顺. 香港 : 宝利影业(香港)有限公司, 1985. 本片是台湾导演李作楠的1985年的作品,他的导演老师是丁善璽,丁在影坛近二十年，可谓桃李满天下，跟过他的包括刘立立、董今狐、金鰲勋、李作楠等，日后都变成独当一面的好导演，而此片是李作楠中后期的作品了。 导演李作楠以拍古装功夫片见长,从1971年做助理导演开始拍摄的《落鹰峡》开始，到80年代初的十年间，拍摄里多部功夫片，其中不乏有传世的经典作品，象《南拳北腿沾阎王》，《南北腿王》、《亡命忍者》等，在1985年他拍摄了《献身》这部动作功夫片，在片中加入大量色情成分,此片的女主角艾蒂,就...