棒球大联盟第五季

主角本田吾郎的父亲本田茂治本来是职业棒球选手，自幼丧母，但是六岁时父亲在比赛中被乔吉普森(原译:约翰吉布森)的触身球击中头部而脑血肿而过世。其后吾郎的幼稚园老师星野桃子(茂治的女友)便收养吾郎，九岁时茂野英毅（父亲的同学，同样是职业棒球选手）与星野桃子结婚，本田吾郎姓氏便改为茂野，历经少棒联盟与高中棒球时代，进入美国大联盟挑战的成长历程。励志+亲情+友情的故事！

黑暗弥漫

二战时，在德国占领下的波兰，管道工波德克（罗伯特·维凯威兹 Robert Wieckiewicz 饰）与搭档扎佩克兼做着小偷的勾当，错综复杂的下水道成了他们最好的隐匿处和贮藏室。他和城市中被封锁的犹太区做生意，跟德军中的乌克兰军官是旧相识，乱世中享有一点生活的自在。不久德国人开始屠杀、搜捕犹太人，部分不想被押往集中营的犹太人和波德克达成交易，按人头计价得到了藏身下水道的机会，黑暗又臭气熏天的下水道成了波德克收留犹太人的避难所，地面上的犹太人很快被抓捕一空，在物价飞涨和德国人持续的高压下，扎佩克离他而去，波德克只靠自己艰难维系着下水道中犹太人的安全……

刀见笑

一把玄铁刀，辗转三世，成就三段故事。在豪侠手中，它能成就英雄霸业；在大厨手中，它能烹饪世间美味；在有情人手中，它能成就爱情。 　　当年，为了得到旷世玄铁，炼就绝世宝刀，孤独成杀兄弟，盗父墓，寻找 隐居多年的铁匠唐胖子，然而最终却被唐胖子欺骗，不得善终。唐胖子把玄铁炼成菜刀，传于少年八大铲，多年之后，八大铲成为俏江南的第一大厨，名扬江湖。哑巴（安腾政信 饰）为了得到宝刀，手刃仇人替父报仇，于是借计接近八大铲，在尽得真传之后对其痛下杀手。然而牺牲无辜之后，哑巴并没有亲手杀死仇人，但仇人却意外死在哑巴眼前，顷刻顿悟的哑巴从此隐居谷底。屠夫少三两恋上万花楼花魁寐娘（张雨绮 饰），然而纵使他使尽混身解数，不仅见不到寐娘，而且受尽一刀仙的羞辱。心灰意冷的他在滂沱雨夜跳入深谷，大难不死并且知遇哑巴盗得玄铁宝刀。当他再一次回到万花楼之后，杀死一刀仙并且与寐娘成亲，然而在成亲之日，他才发现对寐娘的相思只是一个美丽的错误…… 　　本片为“亚洲新星引力电影计划”首推力作，改编自安昌河的小说《菜刀传奇》，被誉为国内首部先锋武侠喜剧。

那年夏天的秘密电影版

讲述了几个年轻人在一次简单的捉迷藏游戏中，展开了一段关于青春与成长的故事。而这个过程中的参与者，被揭开了一段不为人知的的秘密，这个游戏则变成了击垮几段坚固友谊的催化剂...

逃出危城第二季

AnunknownvirusturnsMoscowintoacityofthedead.Thereisnoelectricity,moneyhaslostallvalueandthosewhoarestillnotinfected,aredesperatelyfightingforfoodandfuel.

奎里达情妇

当男人得知他的女人已经结婚时，一对年轻夫妇的浪漫就中断了。与此同时，一个婚姻不幸的丈夫遇到了一个孤独的老师，他们分享了一段不正当的恋情。

十二夜2：回到第零天

2013年票房大卖的流浪动物电影续篇。

马布里街头小霸王

提奇是位身材瘦小，但精力无限又有很多小聪明的男孩，每天活在自己的宝莱坞白日梦之中，他幻想自己是位战无不胜的动作英雄，而屋顶就是他的国度，但英雄出征还需要一名同伙才行，此时他看上了巴布。巴布身材圆润、脑筋较死板，同时还很怕死，但他用志气与想像力来弥补先天缺点。为了帮他们的社区与家人摆脱黑帮老大拉杰的掌控，两位个性截然不同的9岁男孩很快就发现，自己可以在对方身上学到很多。本电影透过一场场刺激的冒险，向经典宝莱坞电影与电影中的传奇英雄致敬。

欧洲的某个地方

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.

圣诞故事

四十年代，9岁的孩子拉尔夫认为圣诞节最完美的礼物就是一把Red Ryder BB gun，但是所有的人都认为这是非常危险的礼物，甚至不惜与老师，父母甚至圣诞老人对立。本片最有意思的是描写了一个孩子丰富的世界，很多地方让人不禁捧腹，又想到我们小时候。拉尔夫的独白是一位成年男子的声音，同样也有意思。

22-23赛季NBA常规赛 篮网VS灰熊

10月25日 22-23赛季NBA常规赛 篮网VS灰熊 

追随者

演员托马斯·曼Ins上po图，曝光新片[追随者](Them That Follow，暂译)海报，该片将于明年圣丹斯电影节首映。导演布里特·博尔顿、丹·麦迪森·萨维吉，故事讲述美国阿巴拉契亚山脉地区的人们利用毒蛇死亡交易来证明自己信仰的忠诚，一个小女孩手握的秘密将令一切分崩离析。