故事发生在一个令人伤心的大城市中，一宗宗黑帮交易、残酷的江湖惨案引出主人公飞虎精英的到来，逐步揭示出江湖中所隐藏的真相。他们带着正义的希望和伤痛，他们分别潜入黑帮中，两人是敌人也是朋友，更是生死之交……最后，两人能否拯救这个城市，能否让它重见天日呢……

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.

《蒋能灌篮》讲述了一个亚裔美国青少年和篮球迷的故事，他想要能够灌篮，但他很快就对自己、朋友和家人有了更多的了解。

The Beecroft family are ready to spend all of Chief Daddy's inheritance, but not if the CEO of his company has anything to do with it.

从开创性的人类克隆研究到丑闻缠身的结局，这部纪录片讲述了韩国最臭名昭著的科学家引人入胜的故事

Vivica A. Fox makes her Bring It On debut as Cheer Goddess, the Internet's most popular Cheer-lebrity. When Destiny (Prosperi), capta in of three-time national champions The Rebels, is challenged to a global cheer showdown by an edgy new team called The Truth, the Cheer Goddess organizes a virtual battle for squads from all around the world. It seems like the whole world ...

刘小唐是一名普通捕快，从小励志要做一名像父亲一样的大英雄！终于他破获了一个大案件，升职到了六扇门，但却遇到仇家打击报复，遭陷害成为杀人凶手，被女侠晴儿所救，他们相互扶持查找真凶的过程中，意外发现另一桩案件线索，不顾自己安危顺藤摸瓜，再次破获大案，解救了无辜百姓，伸张了正义。本剧通过讲述一个胸怀正义的普通人，经过自己的努力，一步一步实现梦想，维护百姓生活安宁的故事，展现了人性坚韧善良，不惧困苦；为了守护梦想勇往直前，永不退缩的一面。刘小唐的小小梦想，也是大家共同的梦想，因为有了很多刘小唐和晴儿一样的人，不论男女老少，身份地位，都一样的付出，舍小家为大家，才能换来社会和谐美满，文明富强；百姓安居乐业，平安无忧。

网络主播朱大吉想要成名，阴差阳错却遭遇了显灵的猪八戒。猪八戒赠给他一个可以实现愿望的法宝，朱大吉的生活从此发生了天翻地覆的变化。

在2016 年热门电影《我们的疯狂婚礼》的续集中，一对情侣在约会之夜意外求婚成功，从而引发了一系列鸡飞狗跳的闹剧

俊生是周爷的干儿子，很受周爷的喜爱和信任，周爷甚至将自己的产业全部交给了俊生打理。小琪是周爷的女儿，单纯善良的她爱上了俊生，然而小琪并不知道的是，俊生实际上是一个败絮其中的坏蛋，他不仅利用公司为幌子做了许多不法勾当，更有一位名叫丽娜的情夫伴随在左右。　　一次偶然中，周爷得知了俊生的所作所为，愤怒和失望之下，周爷喝令俊生将公司交换，为了保住自己的地位，俊生将周爷杀害，更企图得到小琪，以此控制住周家的产业。纸终究包不住火，小琪知道了俊生所做的一切，更知道了丽娜的存在，愤怒的她想要为父亲报仇，却遭到了俊生的软禁。