一心为父报仇的武学会员田一剑，受维新思想洗礼不愿再做恶官的爪牙杀手，然而在一场场危机暗杀和厮杀中，兄弟分道扬镳，师长惨遭荼毒，爱人为他挡刀而死，亲近的人相继死去，田一剑最终走出痛苦坦然成长为一代天艺人。
四十年代，青年丘子洪欲乾一番事业，故往上海发展，到上海认识到君、川两人，后往同乡勇兄妹处，以作打算。斧头帮之金九笔为歌星莉与杜老大冲突，金河帮姜老大亦介入，最后杜终被杀。警察局长康介绍洪到姜之赌场，洪因表现佳，后智退金而更被重用。因川被杀，康助洪杀金，却因此而使姜、洪关系恶化，却更欲杀勇、洪等人，却反被勇所杀，姜手下元武誓杀洪、勇。此等仇杀背后原来藏着康欲雄霸上海之阴谋，最后勇及其余党皆被杀，唯洪逃脱，洪亦知悉康之一切，故誓杀康，替勇报仇。经过一次次血雨腥风的洗礼后，他意识到，要在这个勾斗角、弱肉强食
经美国《银幕》杂志证实，《天际浩劫》的第三部正在确定投资方并且已经敲定了片名。报道还证实第二部的导演连姆·O·达诺很可能继续以导演和制片人的身份开始第三部续集的制作。演员阵容有待公布，目前消息称第二部主演弗兰科·格里罗以及其中曾出演《突袭》系列的伊科·乌艾斯和雅彦·鲁伊安不太可能回归。
苏劲（佟丽娅饰）是一名标准的北漂女孩，在北京，她邂逅了名为张赫名（李乃文饰）的北京男孩，两人之间产生了真挚的感情，在一起一晃就是好多年。苏劲和张赫名都将彼此视为是注定要携手步入婚姻殿堂的人选，然而张赫名的母亲却并不这么想，这位挑剔的北京婆婆总是看不惯苏劲的外地人身份，对她格外严格，最终，拗不过儿子的执着和坚定，这门婚事总算落定了。然而，平静的生活还没过多久，张赫名青梅竹马的玩伴卓惠娜（文梦洋饰）就开始三番五次的出现在张赫名的身边。猜忌和不信任之中，苏劲和张赫名之间的感情产生了裂痕。
在喜马拉雅山脉里，生存了一个神秘的物种——雪人。雪人族有一个神秘的乐器，风骨笛。只要雪人吹响风骨笛，就能够打开地球轴心之门。
本剧讲述了凌波市烟草专卖局的林育新、宋立军等稽查员正气凛然、成功打击制售假烟犯罪活动的故事。林育新刚刚上任，就遇到了两起与制造假烟有关的案件，其中一起与好友陈剑锋有关，另外一起案件的犯罪嫌疑人顾德海和阿根二人在被包围的情况下弃车逃跑，来到了燕尾村准备重操旧业。陈剑锋为了引开林育新的注意，有意安排陈亚鑫向他举报造假窝点。林育新和宋立军赶往造假窝点时，却被村主任安排的村民围困……回到市里的林育新请乐怀祁帮忙调去双溪县烟草局，乐怀祁建议林育新担任双溪工作组的副组长。林育新来到双溪县之后接到举报电话，便去拦截造假车辆，但因种种原因让嫌疑人再次逃脱……
善良活泼的吉它和好友低音，受聘在黑猫卡拉OK歌舞厅当乐手。黑夜降临，正是卡拉OK的黄金时间。这时，澳门一带的走私集团头目瘸子带着八名大汉来到歌厅找黑猫讨债。原来，黑猫将盗古墓得来的文物卖给瘸子，却扣下了最宝贵的金印。瘸子此次不仅要夺回金印，还要“废了”黑猫。狡诈的黑猫指派人将金印放进了吉它和低音的琴套里，而他俩却一无所知，从而遭到瘸子的追捕。对吉它颇有好感的歌手咪咪帮助吉它和低音逃离魔爪，并建议他们男扮女装躲过眼下风波。男扮女装的吉它和低音来到假日饭店豪华旅游轮，参加了女子乐队。游轮启航后，川与舛反吻别的小艾急忙打开男友让她上船才看的信。原来这是‘封绝交信，小艾两眼一黑。落入海中。吉它不颐一切地救起小艾。咪咪上了游轮，从吉它的琴套中将会印偷走，企望男友阿黄带着金印去臼首。阿黄却死心塌地地投靠了瘸子，并硬扣卜咪咪参与止私。咪眯失望地离开他，也未将金印给阿美。小艾自从认识男扮女装的吉它和低音后，重新建立起生活的信心。吉它和低音总想找机会把自己的真实身份和爱慕之情告诉她。游轮停靠‘美丽的岛屿。自以为聪明的吉它扮成的“黄曼曼”陪小艾上岸玩，小艾对一位英俊潇洒的大副一见钟情。吉它一看，那位大副正足低音，他气得瞠目结舌。公安人员小梁在船上发现吉它和低音，便暗中注意蕾他们。阿精带着打手在甲板认出了低占和吉它。危难之时，眯咪拿着金印挺身而出。低音大喊着不让咪咪交出金印。公安人员及时赶到，擒获了船上的走私集团分子。带着胜利的喜悦和恢复男儿身的骄傲，吉它和低音各自带着心爱的人结伴同行。
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.
“你能，和我组一辈子乐队吗？” 高一的春末。羽丘女子学园里的学生基本上都组好了乐队， 推迟入学的爱音也在为了能尽快融入班级而急忙寻找乐队成员。 在这时候，知道「羽丘的小怪人」灯还没组乐队之后， 爱音不由自主地向她搭话…… 遍体鳞伤且蓬头垢面的，我们的“音乐（呐喊）”。 不畏迷茫，纵使迷茫亦要前行。
史蒂芬·莱诺是德国特警队的一位队员，工作性质的特殊使他有了仇家—银行大盗团伙，他们准备暗杀史蒂芬，却误杀了他的妻子芭芭拉，史蒂芬一直对此事耿耿于怀，无法从妻子的死的打击中恢复，直到一次执行任务，他的仇恨全部爆发出来，擅自枪杀了银行大盗哈罗夫，他本人因此服刑三年半。刑满释放之后，史蒂芬原想可以平静地与女儿杰西生活下去，但哈罗夫的女友塔嘉娜却不肯放过他，他要亲手毁掉史蒂芬的生活，为哈罗夫报仇，以解心头之恨。于是工于心计的塔嘉娜运用各种卑劣的手段，妄想达到她的目的。先是陷害史蒂芬有投放炸弹,谋杀一位女法官的嫌疑，接着又绑架了史蒂芬的女儿杰西，以此引诱史蒂芬步入她设计的连环计中。史蒂芬和他的朋友卡尔明知会有无数危险在等着他们，但他们却毫不畏惧，为的就是救出杰西，并粉碎塔嘉娜的妄想。经过惊心动魄的枪战与智斗之后，塔嘉娜的诡计一一被史蒂芬识破，塔嘉娜被逼无奈，挟持杰西站在高高的平台上，但由于几天的相处，使塔嘉娜对杰西产生了母女之情，最终她放了杰西，但她仍不想放过史蒂芬，便使用激将法，企图重演哈罗夫死时的情景，引诱史蒂芬朝她开枪，这样史蒂芬就永远走不出心里的阴影，永远痛苦。在这千钧一发的时刻，史蒂芬会如何抉择呢？@神马影院