第三季前往非洲的马达加斯加，10月16日出发。
故事发生在一九五零年代的泰国.一桩黑市珠宝买卖之中,探员区肥威被黑社会头子查天雄所杀.伟的女儿真真誓要代父报仇.真真得伟之好朋友耶大歌,梅菜及豆豉之帮助,联手用计对付查.此时,查亦雇用贼人偷取自己的珠宝向保险公司诈取保金,却被苗等捷足先登,取去珠宝.苗等偷龙凤,将假珠宝埋在田间,并广布消息,引查到来......
少林习武归来的方世玉(王昭 饰)，本打算过平常人的生活，但刚回到家乡肇庆便牵扯到一桩贪腐案中。朝廷贪官的爪牙鄂尔多(一龙 饰)带队杀人灭口并企图销毁证据，面对好友周蓉(侍宣如 饰)的惨死，母亲苗翠花(刘玉翠 饰)被擒为人质，方世玉面无惧色，与雷婷婷(彭渤 饰)决意反抗到底......
《鲨海逃生》讲述了四名少女索菲·内利斯（SophieNélisse），科琳·福克斯（CorinneFoxx），布莱恩·朱（BrianneTju）和西斯廷·史泰龙（SistineStallone）的潜水冒险，她们探索了一个被淹没的玛雅城。当她们进入内部发现下沉的废墟是致命大白鲨的猎场，心情由兴奋转为惊恐。随着她们的供氧逐渐减少，必须在水下错综复杂且幽闭恐怖的洞穴和诡异的隧道中寻找逃离水牢的出路。
讲述某天偶然间共有一个女人感情的一个男人完完全全体会到那个女人身上喜怒哀乐后发生的情感共有奇幻爱情人性推理故事。
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.
商社勤めのOLの平林亜美は30歳の誕生日を目前に控え、少々ナーバスな日々を送っていた…。社内に3歳年下の恋人?原口圭一がいるが、つき合っている事は周囲には秘密にしている。そろそろ結婚も考えていい頃なのに圭一からプロポーズをされる気配もない。もともと地味な性格の亜美はイケメンで甘え上手な圭一が周りの女から狙われている事に気が気でない。「どうせいつか捨てられるんだわ」といつもネガティブなことばかり考えてしまう。そんなある日、ふたりは大ゲンカして売り言葉に買い言葉で亜美は別れを口にしてしまい…。
粱晨在咖啡馆遇到一个自称是自己未来老婆的陌生女子，女子说涉险回到此刻为了阻止粱晨接受面试，以避免之后买房等一系列惨剧发生。女子的描述让粱晨信以为真，服下失忆药，醒来钱包已被掏....
大阪修道街药商的女儿春琴（山口百惠 饰）生的美丽动人，但小时候因为眼疾而失明，却在三弦琴上练就出一番造化，生性清高的她不愿被人瞧不起，性格也愈发古怪起来。照顾她日常起居的是比她大四岁的仆人佐助（三浦友和 饰），伴随着春琴的佐助对小姐的照顾可谓无微不至，追随春琴学习三弦的他和春琴的接触与日俱增，逐渐心生爱意。二人的微妙关系，春琴却不为承认，直到春琴因为意外被毁容。为了不让春琴感到难过，佐助选择了刺瞎自己的双眼，这样，留在他脑海里的便是小姐永远美貌的样子。二人自此再没有什么间隙，永远的生活在了一起……
本片是关于20世纪伟大数学家小约翰?福布斯-纳什的人物传记片。 小约翰?福布斯-纳什（拉塞尔?克劳）在念研究生时，便发表了著名的博弈理论，该理论虽只有短短26页，却在经济、军事等领域产生了深远的影响。但就在小约翰?福布斯-纳什蜚声国际时，他的出众直觉因为精神分裂症受到困扰，然而这并没阻止他向学术上的最高层进军的步伐，在深爱他的妻子艾丽西亚（珍妮弗?康纳利）的鼓励和帮助下，他走得虽然艰缓，却始终没有停步，而最终，凭借十几年的不懈努力和顽强意志，他如愿以偿。
大美女陈燕雨事业有成却情路坎坷，又遭深沉大叔黄国泰纠缠不休，无处躲藏的她偶然认识穷小子何天明，便让他假扮男友陪自己回家以断绝黄国泰的非份之想黄国泰醋意大发，利用何天明急需用钱的心理设下圈套，诬陷他与众富婆有染。此时己对何天明有好感的陈燕雨将他大骂一顿。何天明百口莫辩，选择沉默。经过一番啼笑皆非虐心伤肺的波折，陈燕雨了解到何天明省吃俭用是为了替父还债报答好心人，他的这种积极向上诚信守约的精神彻底打动了陈燕雨，她真心喜欢上何天明。随后，陈燕雨去找黄国泰算账却差点被侮辱，逃出来的陈燕雨哭着扑进何天明的怀抱，两情相悦时，何天明发现陈燕雨几年前也曾捐助过他……