在大学期间，莱拉（安娜·帕奎因 Anna Paquin 饰）和劳拉（凯蒂·霍尔姆斯 Katie Holmes 饰）是一对无话不谈的好友兼室友，而如今，劳拉即将和大学同学汤姆（乔什·杜哈明 Josh Duhamel 饰）踏入婚姻的殿堂，身为死党的莱拉怎能不出手相助？于是，伴娘这一光荣的身份便降临到了莱拉的肩膀上。 可是对于连男友都没有的莱拉来说，目前的处境让她十分的尴尬，不仅仅是因为自己单身的状态和曾经暗恋过汤姆的事实，还因为即使是现在，她还对新郎汤姆恋恋不忘。对于莱拉的尴尬，沉浸在幸福之中的劳拉并未察觉，而随着婚期的将近，莱拉感觉自己变成了一个正在倒计时的定时炸弹，即将爆发。
讲述了沂水县黑帮跋扈，县衙张大人明哲保身，与虎联帮签订酉时协议，决定互不干涉。州里派李云接任都头一职，李云上任之时，遭遇蒙面人追杀，被告知衙门有内鬼，一场明争暗斗的战争开始。
一名全职爸爸辛苦多年，终于可以趁妻儿不在家享受MeTime。他与昔日的死党重逢，过了一个疯狂周末，却差点令自己的人生天翻地覆。
2014年3月16日，在东京·秋叶原开幕的电击文库大型盛典“电击文库春之祭典2014”上，成田良悟原作的轻小说《无头骑士异闻录》再度发表了动画化制作的消息。作品将分割3季度播放，副标题分别为“承”、“转”、“结”，分别于2015年1月、7月、2016年1月播出。原作小说第一部完结（第4-13卷）为止将全部动画化！情介绍：向往都市生活的少年竜之峰帝人受好友纪田正臣邀约离开家乡来到东京，随后，帝人进入东京池袋来良学园上学。正臣告诉他，在池袋生活有几个绝对不能招惹的人物，尤其是生性好斗的小混混平和岛静雄和经营着情报屋的折原临也这两个人。正臣还告诉他，池袋有一个奇妙的组织体系，正......
A young teenager falls in love with an older girl during a family holiday in rural Quebec.
《这十年·追光之夜》以“追光”为主题，用“时间”为轴，采用多种艺术表现形式，展现各行各业“追光者”投身新时代火热实践奋斗逐梦的历程。
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.
大漠少年郭靖随师父江南六怪下江南历练，偶遇黄药师之女黄蓉，二人卷入争夺《九阴真经》的江湖阴谋。郭靖屡遭险境，幸得洪七公、老顽童等武林高手指点，武功步步精进。西毒欧阳锋登桃花岛提亲，为夺真经掀起江湖血雨腥风。郭靖肩负重任，踏上决战华山之巅的征途。
未曾有の危機の中で運命的に出会い、恋に落ちる男女にスポットを当てた本作。彼らは日本沈没までの限られた時間の中でさまざまな困難に立ち向かい、愛を貫く。
国内知名女设计师袁元（俞飞鸿 饰），日本留学归国，气质出众，事业成功，多年的合伙人雷鸣也对她照顾有加。然而，看似人生赢家的袁元，内心深处却始终隐藏着一个难以放下的心结。在遇到事业瓶颈时，一位日本女孩（木下彩音 饰）的突然出现打破了袁元原本风平浪静的生活，一段关于北海道的神秘往事也随之展开……
8月16日 22-23赛季意甲第1轮 维罗纳VS那不勒斯