9岁的小女孩蕾蒙娜·昆比（乔伊·金 Joey King 饰）生活在一个幸福美满的家庭里，父亲罗伯特（约翰·考伯特 John Corbett 饰）和善宽容，尽心支撑着这个家；母亲桃乐丝（布丽姬·穆娜 Bridget Moynahan 饰）善良温柔，悉心打理家中的一切；她的姐姐碧祖丝（赛琳娜·戈麦斯 Selena Gomez 饰）美丽聪颖，品学兼优，姐妹俩还有一个牙牙学语的小妹妹。古灵精怪的蕾蒙娜每天尽情玩耍、调皮捣蛋，无忧无虑地享受这份宛如天堂般的快乐时光。然而随着父亲的失业，昆比家的快乐不复存在，人人脸上挂满愁容。蕾蒙娜不愿看到这一切，她决定用自己的奇思妙想为家人们找回久违的快乐…… 本片根据作家碧弗利·柯利瑞（Beverly Cleary）的小说改编。
柯山土司柯陆亚德（董志远 饰）据险称雄，独霸一方。歌手麦力生（李冰 饰）渴望自由，惨遭土司伤害。1950年，解放军准备解放柯山，柯陆亚德闻讯，全家乱作一团，特务罗家（赵树清 饰）找土司商议对策，以期东山再起。一晃八年过去了，土司阿侯（刘广义 饰）和卡洛（刘平人 饰）主动要求进行民主改革，只有柯陆亚德不为所动。在罗家的授意下，抓走我分区司令员杨凡（崔永昌 饰）的爱人和通讯员，想以交换人质为借口，趁机发动叛乱。我军识破了敌人的诡计，里应外合，彻底消灭了叛匪。千年的封建农奴枷锁被砸开，人吃人的社会制度成了不堪回首的历史，柯山顶上飘扬起鲜艳的红旗，红日升起来了......©豆瓣
16世纪，一个无名的炼金师为求得永生，制造了名为“魔鬼银爪（Cronos）”的装置。它可延续人的生命，令其恢复青春活力，却也要求人类付出相应的代价。几经辗转，收藏着魔鬼银爪的雕像落入善良的古董商人耶稣·格里斯（Federico Luppi 饰）的手中。他偶然发现这个装置 及其隐藏的秘密，于是对其产生依赖，任凭魔鬼银爪将他变成为了青春而嗜血的怪物。另一方面，身体羸弱的富商安吉拉·迪拉·加迪亚（Ron Perlman 饰）得知魔鬼银爪在耶稣的手中，于是千方百计要将它弄到手，为此不惜大开杀戒…… 本片为导演吉尔莫·德尔·托罗（Guillermo del Toro）的长片处女作，并荣获1993年墨西哥Ariel奖金奖和最佳男主角、最佳导演、最佳处女作、最佳原创故事、最佳制作、最佳编剧和最佳特效等多个奖项。
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.
一个挥舞着刀的性越轨者瞄准了两个漂亮的妹妹。她回家后，他开始疯狂地与大妹妹通宵辱骂和羞辱。天真的二妹妹不知道他闯进了她们的公寓......
故事发生在一座人迹罕至的边境小镇上。贾各布（法瑞斯·法瑞斯 Fares Fares 饰）、兰斯（Göran Ragnerstam 饰）、安吉塔（西西拉·凯尔 Sissela Kyle 饰）和汉肯（Erik Ahrnbom 饰）供职于镇上的警察局。这个小镇实在是太安全也太平静了，镇上已经有十几年没有发生过任何的违法事件了。
由《中间人》(The Inbetweeners)原班底打造的BBC新喜剧，《绯闻女孩》中扮演"Chuck"的英国演员Ed Westwick和《中间人》的Joe Thomas和James Buckley共同主演，讲述1983年卖双层玻璃的三个自命不凡的年轻人的故事，英国复古范的玻璃男孩抽烟喝酒狂妄，为了卖门窗不择手段。
《盲拳怪招神经刀》是著名导演罗棋1978年的作品,以民国为背景的江湖笑剧。
Free! -Dive to the Future- BD第一卷收录。