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影片讲述怀特饰演的“猎鹰”查普曼，为妹妹报仇，血洗巴西贫民窟的故事。 怀特扮演的退伍海军陆战队士兵查普曼，被描述为一位“黑暗的反英雄”，被罪恶感和创伤后应激障碍（PTSD）折磨。本片中，他的妹妹作为慈善组织成员前往巴西贫民窟工作，却遭残忍杀害，曝尸街头。查普曼遂飞往圣保罗，追踪杀害妹妹的凶手，控制贫民窟的日本黑帮海外势力，以孤胆英雄之姿，一人展开血战。
A mysterious driver in a muscle car with a demonic hood ornament hunts down a gang that has taken over a small town.
從1937年11月底上海淪陷，到1941年12月8日太平洋戰爭爆發，日軍進入租界止，曆 史上稱為「孤島」時期。那時期的上海租界，政治環境極其險惡，張善琨以古裝片《木蘭從軍》（1938）借古喻今，轟動一時，掀起了古裝片的熱潮，但很快就被大量粗制濫造的才子佳人民間故事古裝片所替代了。在孤島影壇的一片混沌中，費穆和民華公司主持人金信民、童振民，花了近一年的時間和巨大的資金去拍攝《孔夫子》，可說是眾醉獨醒，逆流而上。《孔夫子》是民華的創業作，影片沒有慷慨激昂振奮人心的戲劇性，倒處處透露出悲愴的情懷，作品中的孔子身處衰世，先後困於奸亂，絕糧陳蔡，弟子死難，家人凋零，落得孑然一身卻仍與世抗衡，節高氣傲。《孔夫子》絕不是一套討俏的電影，在華語電影大片橫行的今天，費穆在「史」與「劇」之間的思考、對電影美學方面的探索，尤其顯得難能可貴。
史酷比和他的朋友们在一个又温泉的地方度假。但在这个极度放松的温泉里，发生了一个史前恐慌的事。史酷比和他的朋友们发现的可怕鬼龙。据说这是一个古老的传说。在神密地沙漠洞穴中为了保护宝藏。而设计的魔咒。史酷比为了保护这些宝藏不被那些五颜六色的犯罪嫌疑人抢走。他充当英雄的角色。对那些贪婪的企业投资者和过度热心的科学家们来说，史酷比是一个障碍，想出一切办法要除掉他。他们成功了吗？还是史酷比成了英雄？
2018年，34岁的夏伦·沃兹和她的两个女儿在科罗拉多州弗雷德里克失踪了。随着令人心碎的细节浮出水面，她们的故事成为了全世界的头条新闻。导演珍妮·波普尔韦尔完全通过社交媒体上的帖子、执法记录、短信和从未公开的家庭视频等档案片段来讲述该故事，为观众还原一起警方调查案件和一段破碎婚姻的真相。《美国谋杀故事：隔壁那家人》是第一部为受害者发声的电影。
民国时期，龙泉镇青瓷艺人李不冲掉包骗了洋人威廉两千大洋，谁知却落入威廉设计的陷阱，不得不受威廉指使，仿造五龙庵的国宝成化香炉。经过一系列周折，就在威廉等人得意忘形之际，最后却又落入李不冲的圈套，李不冲保护了国宝。
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.
自小习咏春的妙兰与入序的唐傲育有一子南生。唐傲神秘身份为精武会英雄。唐傲在一次行动中发现洋人偷运国宝中国出境，唐傲寡不敌众，被西洋拳手狠狠打中头部，他连同大唐帝王玉玺跳海逃生。 与此同时，数名洋人杀手找上妙兰一家。妙兰见状立即带同南生逃亡，到广东郭天的杂货铺找寻丈夫下落。 头部受到的重击，使唐傲的记忆间歇性消失妙兰，南生到达郭天的杂货铺拿出密函，表明来意。郭天指唐傲是次行动失败，无人知晓唐傲去向。郭天建议妙兰南生暂时住在杂货铺。妙兰没有选择，只好答应。 郭天计划捣破洋人偷运国宝的行动。行动期间洋人拳手在杂领铺出现捉走南生，震东阻止不到还受了伤。 又廷妙兰完成任务得知南生被捉。妙兰大惊，要四出寻找儿子。唐傲刚好到达杂货铺，妙兰立即追问唐傲之前发生的事。唐傲未能立刻想起她是谁。妙兰激动差点把唐傲身上玉玺撞倒地上，唐傲情急还手，又廷上前阻止。 唐傲又廷对打，战斗中唐傲功夫及记忆渐渐恢复。他终能叫出妙兰的名字。二人正式相认，唐傲知道儿子被捉。 郭天用计叫又廷先救南生，最后南生和妙兰安然无恙，但唐傲生死未卜消失于火海。
曾经红遍亚洲的超模新星文青遥因为感情受挫，突然离开T台销声匿迹，一年之后，浪子青遥回来，发誓不再涉足模特业，这让青遥的经纪公司老板，也是青遥母亲的时尚界女魔头马锐无法接受，决定不择手段让儿子回心转意。来自偏远乡村的边庭花立志进入自己热爱的时尚圈，有朝一日接近心中偶像文青遥，偶然机会，她发现住在隔壁、落拓不羁的神秘男子，居然就是青遥！两人误打误撞成为了一对情侣。在经历了一系列笑中有泪的波折动荡后，青遥重返T台，最终与庭花牵手。
影片主要讲述了2002年4月27日至2007年5月6日期间萨科齐的经历，聚焦萨克齐对权力的迷恋。片中的萨科齐紧张、冲动而又野心勃勃，符合很多法国人心目中的总统形象。影片还描绘了两个对萨科齐的政治生涯有着重大影响的人物：他的前妻西西莉娅·萨科齐（弗罗伦斯·派梅尔 饰），前总理多米尼克·德维尔潘(Dominique de Villepin) （塞缪尔·拉巴特 饰）。