婴儿式

　　根据英国畅销书作家罗伯特·哈里斯（Robert Harris）小说改编的一部别开生面的3集电视电影。                                                                    　　影片以当代莫斯科以及冰冷的北方大天使镇为背景,再现了俄罗斯共产党的全貌,描述了一个大学教师生命中最难忘的4天当中的故事.他更斯大林的一个前保镖的一次重要见面,揭开了世上最危险最秘密的秘密,不知何故,他不知不觉地陷入针对他自己地圣杯的阴谋和谋杀之中,圣杯是斯大林的秘密遗产.是一种可能永远改变俄国历史面貌的遗产……

曹青（胡杏儿饰）和母亲曹闭月（黄淑仪饰）行走在江湖之中，只为了寻找失散多年的父亲曹大功（顾冠中饰）。一次偶然中，两人结识了名为计准（吴卓羲饰）的男子，三人不打不相识，曹青和计准之间更是结下了深厚的友谊。曹青和名叫钱通（罗仲谦饰）的男子从小就结下了婚约，然而，钱家却并不承认曹青这位准儿媳，在计准的帮助下，曹青最终和钱通成了亲。钱通的贴身丫鬟山楂（岑丽香饰）的存在让曹青的心里很不是滋味，她试图撮合山楂与计准，以失败告终，不仅如此，曹青亦因此与钱通和计准产生了矛盾。一场意外让计准和山楂之间有了实质性的关系，计准因此决定纳山楂为妾。

　　欢快跳跃的音乐声中，青春阳光的少年棒球队队员印入观众的眼帘，微微悲凉的钢琴曲，这些青春少年随之出现在暗淡的画面，立刻给观众的心里布满灰暗，这就是他们的青涩记忆。                                                                    　　杜鹏是一个出色的男孩，成绩非常优异。家里的奖状和证书及奖杯很多很多，甚至曾经梦想着获得诺贝尔物理奖。一次偶然，他听到父母吵架，母亲计划把他送到国外读书，并且决定要和父亲离婚。杜鹏开始逃学了。他和笼罩在父亲暴力阴影下的绍远、跟着奶奶一起生活的陈志以及性格懦弱的许枫一起去网吧疯狂打游戏。在游戏中，四个男孩分别找到了自己的需要。在网吧一玩就是几天，吃在网吧、睡在网吧……沉迷导致了他们犯罪。在犯罪过程中，杜鹏无意重伤了保安，但是这几个孩子并没有意识到自己行为的严重性。虽然胡老师非常努力地想和他们沟通，但是阴差阳错，教师的工作每次都是徒劳。陈志第一个知道了事情的严重后果，他无法承受，疯了。当杜鹏得知他们那天误伤的人原来是自家保姆的丈夫时，他选择了死亡。而绍远在经过胡老师的一次家访后，决心做一个好孩子，他和父母做了人生第一次真正意义上的沟通，正当全家其乐融融的时候，警察来了。绍远的父母一直追赶着警车，他的心中充满了悔恨。                                                                    　　许枫因为犯罪中止，没有受到刑事处罚，但是在他的心中充满了惶惑。最终，胡老师等在许枫回归的路上。

正所谓江湖险恶，险象环生。东邪黄药师之女黄蓉（妞妞 饰）被铁掌帮帮主裘千仞所伤，危在旦夕。郭靖（傅声 饰）背负蓉儿一路逃亡，偶然机缘行至一个机关密布的所在，并在此结识了深居简出的神算子瑛姑。在瑛姑的指点下，二人前往桃源寻找南帝段智兴（狄龙 饰）。桃源风景秀丽，鸟语花香，然一派祥和之下危机四伏，更有“渔樵耕读”四大高手阻挡去路。郭靖和蓉儿凭借高超的武功和过人的机敏闯过重重难关，终于见到已剃度出家的段王爷。段王爷虽知出手相救的凶险，却仍用一阳指治愈蓉儿，更道出了与瑛姑那一段鲜为人知的爱怨情仇……　　本片根据金庸同名武侠小说改编。

小诗 ( Kris Aquino 饰 )养有一只可爱的大狗Magic，Magic从小就跟着小诗一起生活，他们的感情十分好。这次，小诗要到美国探亲，没办法带着Magic一同前往，于是只好委托男友阿杰帮忙好好照看Magic。阿杰表面上十分乐意，可是小诗走了之后，他马上招来一群猪朋狗友来家里作乐，根本不管Magic。无人照看的Magic跑了出去，半夜，迷路的Magic跑到了开心鬼（黄百鸣 饰）的神庙。看到风吹倒了蜡烛神台着火，聪明的Magic跑上去扑灭了火苗。为了感谢它的救命之恩，开心鬼显灵并用施法令Magic变成了人，但限期只有49天。变成人之后的Magic不会说人话，动作习性还是和狗一样，因而笑料百出。人模狗样的Magic在这49天内会有什么不一样的经历？

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.

超强押运人弗兰克·马丁（杰森·斯坦森 Jason Statham 饰）近期的工作是接送缉毒官员比林斯先生的小儿子杰克，弗兰克与杰克母子相处和谐，但一伙歹徒的突然出现打破了平静，弗拉克与他们在医院首次交手顺利脱险，可为了杰克的安全着想，弗兰克不得不把孩子送到对方手中，并因此被警方确认为绑架嫌犯。弗兰克发觉这次绑架另有深意，策划此次事件的幕后贩毒集团意在通过小杰克将致命病毒传染给参加国际会议的各国缉毒组织高官，以便为自己的犯罪行为扫清障碍。弗兰克承担着杰克母亲奥黛丽的信任，在警方与贩毒集团的追夹中，逐渐逼近幕后策划者詹尼（Alessandro Gassman 饰），并与同样身手不凡的詹尼展开天上水下的连场搏杀。

重案组探员乐民（郑浩南 饰）赴泰国办案时结识流落风尘的钢管舞女郎阿丽（腾子萱 饰），两人迅速打得火热，乐民应承即日返来找她，却一直没有兑现承诺。一晃三年，发生警员被杀命案，警方锁定头号通缉犯林超（李德龄 饰），与此同时，乐民儿子离奇遇害，妻子嘉碧（邵美琪 饰）被吓得魂飞魄散，后又奇异症状缠身。腹背受敌的乐民与资深警探琛哥（林雪 饰）共同办案，经验丰富的琛哥怀疑一切是乐民在泰国欠下的桃花债种下的恶果，导致妻儿被人下了“降头”，乐民将信将疑之下，听琛哥指引找法师做法解决，不曾想这让他的困境和林超案又有了关联……

徐智受雇逸乐县富豪卢豪的胁迫，去杀害其弟弟卢朗。在幽暗路灯下的小巷中，徐智趁卢朗不备，拔刀相向，两人扭打成一团，此时天降闪电，正好劈中二人，发生了神秘事件，二人身体互换了。当他们发现这点时，情况已经变得极其复杂。徐智随卢朗的妻子周菲回到家中，想引诱卢朗出现，不料却等来了警察查询和神秘黑衣人的绑架。徐智和周菲随黑衣人回到了逸乐县，紧随其后的卢朗也回来了。他用徐智的身体见到了自己的哥哥，知道了杀身之祸的原因，悲痛欲绝。而最让他难过的是，面对濒临去世的父亲他却无法相认。与此同时，事情的进展让徐智丧失了理性，他渴望改变人生，即便不再是自己。

暂无简介

故事的背景设定在1972年，女权运动正进行的如火如荼。主人公凯西去了一家天主学校教篮球，学校里全都是女生，而且既没有体育馆，也没有统一的队服。更让人沮丧的是，学校正面临着被卖给房地产开放商的危险。在种种困难中，凯西还是带领她一手培养出来的篮球队，打进了第一届全国女子篮球锦标赛。　　1972年，男女平等意识抬头，至今23年的人生充满挫折的凯西决心要作些改变，于是她来到一所女子教会学校，为她毕生的梦想电影下载放手一搏：成为篮球教练。但当时的社会风气不支持女性追求自身梦想，学校也因为经费不足面临被拍卖的危机，来自各方的压力使得球队濒临解体…但凯西毫不退缩，说服修女及萌生退意的队员们，将对上帝的坚定信仰转化成挑战的勇气，最终她的热情让原先不看好的修女转而支持，也为她们赢得第一座全国女子篮球联赛的冠军。

深夜回廊亭突然大火，一名男子葬身火海，姜远星（邓家佳 饰）严重烧伤毁容；阳光帅气的程成（张新成 饰）出现在姜远星的生命中，两人的命运似乎也被这场大火改变……　　该剧改编自东野圭吾推理小说《回廊亭杀

这里是妖精族、女神族和魔神族存在的世界。由于魔神族的暗中活跃而濒临灭亡的大国·里拯救了它的是身为大罪人的传说中的骑士团“七大罪”，以及一位公主。