大部分女生心目中都有一个“灰姑娘”的梦，都梦想有一天王子会找到自己，然后和王子过上幸福的生活。但是现实中真的有王子吗?如果真的有王子，王子真的是“灰姑娘”的真爱吗?面对拿着水晶鞋的“王子”和时刻拿着“拖鞋”站在身边默默守护着自己的“冤家”，到底哪一个才是自己的真爱呢?如果“王子”不是“灰姑娘”的真爱，那“灰姑娘”是否应该回头去寻找身边那一份属于自己真实的“爱情”呢?
可爱的柯基犬“王子”本是土豪家的萌宠，却在一次意外后流落街头，从贵族犬变成流浪犬。转校生佳琪是一个底层家庭的孩子，从内地来到香港，同学欺负，邻居排挤。也许是上天的安排，在一个雨夜，落魄的“王子”遇到穷困的佳琪，这看似普通的相遇却悄然改变了两人的命运。“王子”的忠诚和勇敢影响了身边的每一个人，大家的生活也渐渐顺利起来，而这时，故事才刚刚开始......
电影《一枝花与铁臂膀》着重讲述了蔡庆与蔡福两兄弟为了救助富甲一方的卢俊义而展开的一系列故事。实力派演员郝柏杰在剧中饰演梁山好汉“一枝花”蔡庆，一个外表风流不羁，内心纠结复杂，充满豪情的人物。在正义路上，几经波折，辗转徘回，令人心悸。
是一档聚焦原生友情的真人秀，由董子健、刘昊然、王俊凯担任常驻嘉宾。节目通过真实记录三位艺人实现心愿旅途的过程，展开一场原色少年放飞计划。同时希望通过节目中对三位少年旅途中所见所感的描绘，唤起用户对旅行的向往， 怀念重拾少年之心。
当红女歌星周媚（马羚）报案声称被人强奸，待刚从警官学校毕业上班没多久的女警官苏明（马晓晴）赶到其寓所调查时，她却摆出拒人千里之外的态度，要翻案，这让苏明心生蹊跷。而周媚所在公寓的保安员前来自首时所说的前后不搭的供词，加深了苏明的疑惑，她决定为这个差不多定性的案子多跑几趟。 在精神病医师肖健（陈宝国）的协助下，苏明发现前来自首的保安员不过是在幻想犯罪，真正的强奸犯另有其人。当一段埋藏在深层的隐情被掀开时，苏明也意识到自己一直被某种情绪压抑着，要获得新生，必须进行一次彻底的释放。©豆瓣
故事的背景是在1795年东印度公司殖民统治印度期间，殖民统治者想要抓住反抗组织”阿扎德“的领袖（阿米特巴·巴强饰演）于是找来了混混弗朗基（阿米尔·汗饰演）充当间谍，但弗朗基在潜伏过程中却有了另外的想法，一段充满了意料之外的动作冒险故事由此展开.....
大明星李毅峰是知名的大明星，为了能够和他有亲密的接触，某富婆花钱雇人绑架。在绑架过程中，女绑匪安然对长相帅气的李毅峰一见倾心。在被幽禁的过程中，李毅峰与安然暗生情愫，两人逐渐相爱。殊不知，此时危险正在悄然来临。
龙湖山天剑门掌门赵林（陈浩民 饰）与妻子采儿夫人（徐冬冬 饰）恩爱有加，两人潜心修炼过着神仙眷侣的生活，不料却遭到曾是天灵派掌门接班人刘巫祝（徐少强 饰）的袭击。唱一曲悲欢离合，谱一出爱恨情仇，一段荡气回肠的故事即将上演。
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.
11月13日 22-23赛季英超第16轮 纽卡斯尔VS切尔西
六、七十年代的香港，警察贪污，黑道横行，正是陈华（刘青云饰）与喇叭（林家楝饰）、猫仔（张晋饰）及一班兄弟最风光的日子。
女優の飯豊まりえが、7月7日にスタートする読売テレビ?日本テレビ系ドラマ『オクトー ～感情捜査官 心野朱梨(しんのあかり)～』(毎週木曜23:59～)に主演することが8日、明らかになった。浅香航大がバディ役を務める。 三浦駿斗氏ほかの脚本による完全オリジナルの同作は、人の感情が“色”で見える女性刑事?心野朱梨が、感情見え見えのエリート崩れ男性刑事?風早涼とバディを組み、凶悪事件の“深層”に迫る新感覚の刑事サスペンス。 アメリカの心理学者?ロバート?プルチック氏の「人間の感情は8つの基本感情が混じり合うことで全て表現できる」という実在する心理学理論をもとに制作され、目に見えない感情の“色”を見る特殊能力が取調べのカギに。特殊な力で凶悪事件の真実を暴く感情捜査官?心野朱梨を飯豊が、エリート街道を歩んでいたが、とある事件がきっかけで神奈川県警へ異動となった...