金发碧眼的洋娃娃（Emily Browning 饰）宛如一只时刻会受到惊吓的小鸟，这一天她被送进一家私人会所。该会所由蓝佬（Oscar Isaac 饰）掌控，他四处网罗妙龄女孩，并让葛斯基夫人（Carla Gugino 饰）教授她们舞蹈，旨在取悦那些腰缠万贯的富翁和手眼通天的政要。洋娃娃在此结识了小甜荳（Abbie Cornish 饰）、火箭女（Jena Malone 饰）、布女郎（Vanessa Hudgens 饰）、黑琥珀（Jamie Chung 饰）这4名好友。洋娃娃不愿沦为供人把玩的工具，她与朋友们商量从此逃走。逃亡计划需要4样工具：地图、打火机、刀和钥匙。朋友们负责盗取这些工具，而洋娃娃则用她那迷人且极具魔幻色彩的舞蹈吸引着蓝佬等人的注意力。 只是终究也分不清，这是谁人的魔幻世界……
在前集《辛巴达历险记2013》结尾，辛巴达、阿拉丁和艾露露成功地完成了独眼巨人城堡的冒险，得到了一盏奇妙的神灯。眼看大家就要实现各自的美好愿望了。但是从神灯里出来的神灯精灵却鬼使神差的遭遇了失忆，使用魔法来给三人实现愿望的计划成了泡影。 三个调皮鬼马的小伙伴，当然不甘心失败，决心联手前往魔法岛乐园解开愿望实现的谜题。在这个完全未知的魔法岛上，一路困境重重，冒险王索罗汉被石化、艾露露被坏蛋抽取了记忆、辛巴达和阿拉丁被迫走散、神灯大叔再次陷入耶德大王的圈套之中，面对种种困难，他们能够成功闯关神秘的魔法岛吗？
夜晚派对之后，艾娃离开了她的朋友，偷偷溜回家里，第二天醒来，发现床上的自己安然无恙，但那不是艾娃，而是一个长得像她的人。一个来自未来的女人窃取了艾娃的身体，占据了艾娃的身份和生命。而且她并不孤单，因为还有其他人也躲藏在过去，偷偷地生活在我们中间，密谋改变未来。失去了身体，艾娃是一个虚拟的幽灵，不能说话，没有形体。据她所知，她是唯一能阻止他们的人，并重新夺回时间生命线。
四名青少年在一次公路旅行中决定绕道而行，发现自己在肯塔基南部森林深处的鬼屋“万圣节尖叫公园”。在目睹了各种各样的折磨和gore之后，他们开始怀疑自己经历的事情是否有点太现实了。在他们知道之前，他们中的每一个人都被俘虏了，并成为他们原本认为可怕的乐趣和游戏的一部分…
聚焦1925年雪橇手和雪橇犬齐心协力为拯救阿拉斯加州诺姆市孩子的性命而奔波于血清接力路上的事件，被称为“Great Race of Mercy”。本片将登陆迪士尼自家流媒体，2019年推出。 1924年年底，诺姆市一个2岁小孩生病，医生诊断其患有扁桃体炎，这种疾病通常不会有生命危险，然而这个小孩成为例外，接下来很多孩子都被诊断患上了扁桃体炎，有几个不幸离世，医生最终确认这种病症是白喉。当时有一种疫苗能够用来对付白喉，然后诺姆市的疫苗全部过期，新疫苗在港口关闭前却未能送达，来年6月波罗的海才会解冻，也没有公路直通诺姆市、没有飞机，唯一运输货物的通道是邮路，然而冬天只有雪橇犬能够通行。卫生局决定使用两组雪橇犬接力运输，20个雪橇手和150只雪橇犬必须日夜兼程，经过河流，跨过平原，穿过森林，穿越冰冻的阿拉斯加邮路。最近的疫苗所在地为南纳，距离诺姆市1085公里，一般情况下狗拉雪橇需要费时25日，而他们只花了5天半就成功完成接力，拯救了多名孩子的性命。 本片主角Togo是挪威赶雪橇高手Leonhard Seppala(达福饰)使用的其中一只领头犬，因机智、卓越的领导力和敏锐的直觉备受称赞。Seppala被委任传送这场接力中最危险的一段，从诺姆到奴拉托接收那批免疫血清，在零下30度、七级以上强风的环境下成功完成了任务。之后南极探险家Roald Amundsen为Togo颁发了一枚金牌。 比约恩饰演一名接力人员，在途中背叛了Seppala。
本片讲述了主人公苏尔因醉酒的一张自拍在网上疯狂流传后被取消享有奖学金的资格，她的任课教师也受其牵连，并怒斥苏尔。但苏尔对于醉酒的当晚发生的事情毫无记忆。于是，她开始向朋友寻求帮助以究其原委。
雄心勃勃的经纪人莉泽尔发现她的同事苏珊用自己的身体作为“赠品”来吸引客户购买公寓；所以她模仿她的计划。当形势发生逆转时，莉兹尔开始一一面对她的惩罚。
テレビ版「めぞん一刻」の名場面を収録した総集編。五代くんと響子さんの出会いから結婚までの道筋を、季節の移り変わりに沿って振り返っていく。
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.
老拳师宋武阳突遭百武馆馆徒袭击，幸好女儿宋莹莹与弟子赵志豪及时救驾才幸免于难；宋武阳自知年迈力衰，已经没有足够的精力来传授武艺给赵志豪，同时又担心邪派夺走全国大赛的锦标，于是面谕赵志豪改投尚武馆习艺，以夺魁为期许。赵志豪拜师途中遇到歹徒袭击卖唱女燕姑娘，拔刀相助救出燕 姑娘，获救之后的燕姑娘欲以身相许，无奈赵志豪心中已有师妹宋莹莹，于是拒绝了燕姑娘的示爱。后赵志豪屡次遭到百武馆徒的滋扰，更为百武馆外援日本浪人所伤。
雪家对面一扇从未打开窗户的房间里住着一位孤独的老人。一个雨天，小雪发现了坐在雨中神情悲伤的老人。善解人意的她陪着老人静坐在风雨中。第二天，小雪病倒了。当她睁开眼睛时，发现老人守在自己的身边。孤独的一老一少彼此相怜关爱，并定下了约定——小雪弹奏钢琴固定的几个旋律和老人窗帘的开合为他们传递着心情的信号。在小雪的感召下，小雪的父母和老人的儿子意识到了仅有金钱和物质是远远不够的，只有亲情的呵护才最重要。老人的窗户终于打开了，从窗户里传出阵阵幸福的欢笑声
唐-仪凤4年。西域守备狄仁杰奉唐皇之命，带副将马仁义劝降西凉黑鹰大将军欧阳烈。临行前，唐皇密诏两封告知狄仁杰与马仁义；楚风烈若降便宣金诏，封他为西域长风大将军，并令其即刻带领十万降军赴阳关抵御来犯之敌。楚风烈若不降，便使用银诏：发动西域守备军二十万官兵将其灭之。经过一夜秉烛长谈，性格豪爽的黑鹰大将军接受了狄仁杰的建议；决定交出军印带领十万将士归顺大唐皇帝。狄仁杰当场宣读金诏，称楚风烈为长风大将军，……