二战中后期，欧洲战场形势越来越危急，美国陆军情报部加里森中尉接手了一只由杀人犯、骗子、大盗和小偷组成的前所未有的敢死队，深入敌后，执行特殊任务。这是一支具有传奇色彩的敢死队，队员们各有所长且极具个性，抱着立功赎罪、重获自由的目的，在英勇善战的加里森中尉带领下纵横于欧洲战场，辗转在敌战区，一次次打入敌军内部，完成了一系列看上去几乎不可能完成的任务。营救被俘战友、绑架德军元帅、智取秘密情报、摧毁敌人计划、打击黑帮团伙……与敌人斗智斗勇，屡建奇功，在二战的功劳簿写下了浓重的一笔！这些骁勇善战、有勇有谋的囚犯们，在加里森中尉不顾生死、顽强奋战的军人作风感召下，经历生死的考验，在血与火的战场上逐渐转变了观念，对正义、对人生、对友情都有了一个崭新的认识。他们团结一心、有情有义、彼此信任又诙谐幽默，是战场上真正的英雄，也是生活中可信可爱的好男儿！这部拍摄与六十年代末期的26集电视系列剧以极其深厚酣畅的笔墨着重塑造了五位男主角不同的个性形象和他们之间随着任务不断加深的战斗友情，人物性格突出，故事情节奇巧，引人如胜。作为新中国第一部引进的美国连续剧，此片八十年代初在大陆首播时便引起巨大的震撼，之后每次重播也都万人空巷，轰动一时。其中上译厂的配音阵容更是强大，集上译鼎盛时期几乎所有的名嗓于此片中，翻译制作精良，幽默台词不绝与耳，实属不容错过的经典之作！
出品单位: 长洲文化发展（北京）有限公司 故事讲述某正规报社男记者胡鑫，为一条“地产开盘房价突涨引起暴乱”新闻来到A市，却误打误撞被打出门外，他无意间拍下以捡垃圾为生却住在有如亲王府般的四合院里的纳兰大爷的生活照片，随手传到网上博客。此照片一经流传转载编造，纳兰大爷身世引起社会各界认识的关注，严重影响了大爷的生活，再来访者之中，还有一名八卦网站的女记者顾晓轩。顾晓轩执意跟踪报道纳兰大爷，被怀有愧疚之心胡鑫阻拦。胡鑫打赌顾晓轩一定写不出来“真正的报道”，两人以“时代地产”为主题打赌，可就在两个人找新闻的过程中，发现了地产商不可告人的“秘密”，女代言明星用力掩饰的“隐私”。 两人因此阴差阳错的惹祸上身，被派来“销毁证据”的笨贼抢走相机，而地产商也因此发现了“纳兰大爷”的四合院，对此院产生兴趣…… 纳兰大爷也因地产商的逼迫一病不起。一张照片，地产商、影视明星、小偷全被牵连其中，深受其害。 对着纳兰大爷的身世之谜解开，顾晓轩与胡鑫谱出了恋曲，也成长为一名“真正的记者”。她不顾胡鑫的阻拦，将纳兰大爷的故事曝光于网络，与胡鑫发生严重冲突。 最终，也是因为网络，纳兰大爷得到了捐助，见证了人间处处有真情……
《什么叫做爱》2013年爆笑情感微电影，通过一部神器的电话，引发的爱情，喜剧，励志，情感，动作，惊悚奇幻故事，诠释不一样的爱情观。比邻，一款只打给陌生人的电话。每一次的相遇都是难以释怀的期待，期待与你在这里的相遇。
化身辩护之神，遇到困难的他们，该如何用法律维护自己的权益？
Ayoungwomantakesadvicefromthenotesthatareleftbyamysterious"Handyman"whenasalesreparriveswithplanstobuyherfamily’swinery.
你相信这世界上有魔女吗？18岁的何美珍（李梦饰），一个美丽的小镇少女。奇怪的是，她的学校里，总会有男生莫名其妙地受伤，甚至死亡，而受伤的男生无一不曾向何美珍表达好感。一时间，何美珍是魔女的流言甚嚣尘上。暗恋何美珍的李晓东（尹昉饰），为了澄清流言，试图证明这些受伤死亡事件与何美珍无关……影片改编自韩国网络漫画家姜草的原著《魔女》。
新井隆广作画的《名侦探柯南》正式衍生影集《名侦探柯南：零的日常》，由原创作者青山刚昌全权监督。这名三面人既是公安警察官，也是私家侦探和黑暗组织密探。他的私生活向来成谜，但恐怕再也无法隐瞒下去了。穿梭黑暗与光明之间的安室透，日常样貌即将曝光！《名侦探柯南：零的日常》将于2022年上线，Netflix独家。
影片主要讲述了大清年间，长白山有棵千年人参王，吃了它可以根治百病，皇上派遣各地官员沿途护送进京为太后祝寿，此时许多百姓染上瘟疫，伍四六冒死盗取人参救村民，为了报仇白正峰要杀伍四六，麻翠姑等人受重伤的故事。
Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
The story centres on a single mother and a married man who become lovers. They have agreed to only meet up for the purposes of a physical affair without any prospect of love, knowing full well their relationship would have no future. But they find themselves more and more surprised by how well they get on, their sense of complicity and the well-being they feel in each other’s c...
凯莉·库柯、皮特·戴维森正在商谈主演浪漫喜剧新片[邂逅浪漫](Meet Cute，暂译)。亚历克斯·莱曼([蓝色杰伊])执导，Noga Pnueli操刀剧本。该片将是对浪漫喜剧极具创造性的解构，围绕“如果你能穿越到你所爱的人的过去，治愈他们的创伤，解决他们的问题，并把他们变成完美的伴侣，你会怎么做？”这个问题展开。
一个天赋异禀却身负家仇的心事少女、一个有心无脑却力大无穷的农村扛把子、一个叛逆任性却家庭至上的白富美富二代、一个执着梦想却伤病围绕的知心导师，四个女孩子，四段不同的人生轨迹，因为格斗而走到了一起。在这片大家共同热爱的舞台上，她们有误会、碰撞和较量，也有理解、关心和支持。青春，在她们身上绽放出了最美的色彩。