凯瑞（Clea DuVall 饰）、东尼（Shea Whigham 饰）、克莱福德（Timothy Hutton 饰）和保罗（Nick Cannon 饰）是四个素昧平生的陌生人，他们获邀参加一个测试。在填写了一份冗长而无聊的调查表后，一个自称菲利普博士（Peter Stormare 饰）的家伙出现在他们面前。菲利普收掉志愿者身上所有的物品，并声称每人都可得到250美元的报酬，不过在此之前他们要在封闭的房间内待上30个小时，进行一场淘汰赛，只有最后的胜利者才能走出房间。当众人还对此将信将疑之时，第一个死者却突然出现。剩下的三个人突然意识到，自己已经陷入一场恐怖的杀戮游戏之中。　　这是一个独立于政府之外的军事项目，而它不惜草菅人命的目的究竟是什么呢？

비밀스러운 과거를 간직한 ‘정환’,　　과거를 정리하기 위해 찾아간 외딴섬에서 또 다른 여행객들과 마주하게 된다.　　　　모두 함께 머물게 된 게스트하우스에서　　‘정환’ 홀로 묘한 분위기를 느끼고 주인 남자를 경계하지만　　어느새 그들의 표적이 된 자신을 발견하게 된다.　　　　위험한 상황에서 가까스로 탈출하는 데 성공한 순간　　또 다른 의문의 존재와 맞서 필사의 사투를 벌이게 되는데…　　　　섬의 위험한 비밀을 파헤치는 순간,　　광기의 추격이 시작된다!

《男生女生向前冲》是安徽卫视的一档全民榜样健身节目。从2010年开始，《男生女生向前冲》已经连续播出三年，形成了自身的品牌规模效应，据CSM数据显示，前五季的节目，平时收视率保持同时段省级卫视第一名，拥有近亿的观众规模。

被卷入飞机事故的七名高中生。　　他们醒来之后，发现自己身处魔法与兽人存在的异世界。　　在没有电力的世界中建造核电站，仅仅是外出赚钱就能控制大都市的经济， 为了帮助为苛政所苦的恩人们而与无良贵族开战，简直为所欲为？!　　不错，他们所有人都并非是普通的高中生， 而是各自立于政治、经济、科学、医疗界顶点的超人高中生！　　这是拥有地球上最高的睿智与技术的梦之队所带来的， 毫不保留地运用超高技术的异世界革命物语！

镝木庆一（龟梨和也饰）作为一对夫妇被杀的杀人事件的嫌疑犯被捕，被判处死刑。他在移送过程中逃脱。镝木越狱的消息在电视等媒体上被大肆报道，警方虽然全力追查镝木的行踪，但仍未能抓到他。另一方面，事件受害者夫妇中丈夫的母亲井尾由子（黑木瞳饰）患有痴呆症，受到了事件的创伤，仍在护理机构进行疗养。镝木一边逃跑一边在躲藏的地方改变了名字和样子，他与施工现场的工作人员野野村和也（市原隼人饰）等许多人相遇，并将他们从困境中解救出来。当野野村他们发现镝木是通缉中的死刑犯时，对于“他真的是杀人犯吗？”开始产生疑问。@哦撸马（阿点）

故事发生在昭和初年，一群打扮神秘举止怪异的人在夜幕的笼罩下来到了帝都东京府，他们是世世代代都在追踪和狩猎吸血鬼的吸血鬼猎人。　　尤里（上村佑翔 配音）虽然身处吸血鬼猎人的阵营之内，却是非常特殊的存在，因为他的体内流淌着人类和狼人的两种血液，因此拥有着比普通人类更为强健的体魄。威拉德（堀内贤雄 配音）拥有着丰厚的学识，是军师和领袖般的存在。多萝西娅（森奈奈子 配音）外表火辣，却拥有着截然相反的冷静头脑，无论怎样紧要的危机时刻都能做出正确的判断。菲利普（小林裕介 配音）年纪虽小，却拥有着极为复杂的过去。

这部校园青春搞笑喜剧以“向周星驰敬礼先”为创作理念，核心就是“致敬”二字，糅合周星驰48部电影中的经典台词和喜剧场景，发扬和继承喜剧之王的无厘头风格，集搞怪幽默与动人情感于一身，结合青春、时尚、幽默的大学校园生活，打造一幕幕青春时尚又感人至深的校园爱情故事，让你在轻松愉悦之余重温温馨的大学生活。剧中主要人物小乔、孙权、黄盖、蔡文姬等均将周氏台词、表情、身体语言等“武装到牙齿”。　　该剧改编自网络小说《理工大往事外传》，创意领先，水煮三国，剧中人物全由三国人物反串。小乔是风流倜傥的至尊宝，孙权是清高纯情的紫霞仙子，曹操则变身为貌美心狠的春十三娘。孙权和小乔从幼稚园就开始的欢喜冤家，而曹操则妄图后来居上，围绕这三个人，展开一段曲折离奇的校院爱情故事。而其他人物，爱情猛男蔡文姬，知心姐姐黄盖……想不到的人物身份，猜不到的故事谜底，可谓好戏连台。　　劇情：小乔是风流倜傥的至尊宝，孙权是清高纯情的紫霞仙子，曹操则变身为貌美心狠的春十三娘。孙权和小乔是从幼稚园就开始的欢喜冤家，两人童年时有一段光pp的情缘，十几载未曾碰面，却在月光下的大学校园“赤裸”相见。两人似有似无的感情，一直扑朔迷离，而曹操却意图横刀夺爱，在两人的感情路上屡屡设置羁绊，一段曲折离奇的校院爱情故事由此展开……　　除了孙权、曹操、小乔的“三足鼎立”和多姿多彩，Eyeryone is ok！神勇太史慈，能摔倒魏延却害怕考试，就算把《逃学威龙》和《赌圣》里所有的作弊招式都用上，离及格还是差了0.01分。为了装病，她用《审死官》和《算死草》的骗人伎俩，巧取豪夺得了痢疾的甄妃的大便，终于拿到了医院的缓考证明。两人也因为这样的革命情谊，开始了若有若无的爱情，而太史慈订了娃娃亲的大表哥阿宝也来到了学校，在甄妃寝室住下，新欢与旧爱……　　屡战屡败又屡败屡战的黄盖，为了爱情永不言败！对蔡文姬一直怀着别样情愫，一如《少林足球》里的阿梅，扮“知心姐姐”却只得到了蔡文姬回绝赠送的一根大葱。经过失恋套餐疗法，又前仆后继的爱上了孙权的哥哥孙尚香——一个驻唱酒吧的浪子歌手。虽然遭到众人反对，她还是拿出《鹿鼎记》建宁公主爱小宝的那份惊世骇俗，“他人笑我太疯癫，我笑他人看不穿”，勇敢地冲了上去，并为此献出了半个肺……　　“四眼钢牙妹”鲁肃中了曹操的反间计，而被黄盖等人隔离，却在天台因祸得福。外表酷毙，内心孤寂，球技爆好，对待感情如柳下惠的貂蝉最后竟选择了其貌不扬的鲁肃。两人爱得策马奔腾、轰轰烈烈，简直就是《食神》里食神史提芬周和庙街大姐大火鸡落魄爱情的翻版，可幸福永远是短暂的……　　一贯清高，只肯赠人青丝的周瑜，在逐渐到来的毕业和分别面前，也悄悄失落了起来，一番痛定思痛之后，毅然决然地加入了浩浩荡荡的黄昏恋大军，只为找到传说中的他……　　人生的路上，除了飞扬的激情，还有着成长的各种挣扎，面对正要开始的人生正途，在作茧中承受着蜕变，青春是那样的张扬与朦胧，充满了快乐与惆怅……

Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

经验尚浅的小律师青砥纯子（户田惠梨香 饰）应聘上了大型律师事务所名律师芹泽豪（佐藤浩市 饰）的助理。就职第一天，既忐忑又兴奋的纯子被交代了去和大型商贸公司的社长会面，并被告知要顺着对方的意思。纯子在迷糊中答应了社长的私人请求，即帮忙调查新日本葬礼社社长的密室死亡案件。　　而芹泽这边，因为纯子的原因意外被关进了银行的金库里，在大家都焦头烂额的情况下，来自保安公司的榎本径（大野智 饰）完成了不可能的任务，以高超的技术开启了金库的大门。好奇心爆棚的纯子因此拜托对密室有兴趣的榎本参与解决这桩密室死亡事件。　　于是芹泽、纯子和榎本组成了密室案三人组，接二连三阴差阳错地解决了各类密室杀人案，上锁的房间一一被开启。沉默寡言一心研究撬门溜锁的榎本也在一系列的案件中得到了芹泽和纯子的信任和喜爱，而榎本的背后似乎掩埋着什么不可告人的秘密？

我的人生是无色透明的。在与日野真织相遇之前——。　　被同班同学煽动，对她设计了的谎言的告白。但是她以“彼此都真心不喜欢”为条件接受了告白。　　就这样开始了虚假的恋爱。不久之后，当它不再是谎言的时候--我知道。　　“我病了。你说忘了，晚上睡觉就忘了。一天中发生的所有事情”　　与每天都失去记忆的她，每天积累着仅限一天的恋爱。但是那个突然宣告结束……。　　本片改编自同名小说，女主角真织因为患上疾病，每天都会失去记忆，男主角小透以一次虚假的告白为契机，决定守护真织的幸福。电影描述了他们之间感人的恋情。本片将于7月29日在日本上映。道枝骏佑、福本莉子将双主演电影《即使今夜，这段恋情将从世上消失》，这是他们在《消失的初恋》后再次搭档，也是道枝骏佑的首部主演电影。

为了阻止同班同学遭受霸凌，阳光大男孩神谷透（道枝骏佑 饰）被霸凌者们指示去向同级生日野真织（福本莉子 饰）表白。原本想看神谷的笑话，谁知真织居然真得答应了下来。此后神谷惴惴不安，试图解释，而真织干脆提出不如假戏真做，并且提出了三个略显奇怪的交往条件。神谷当然不知道，眼前的女孩正经历怎样匪夷所思的人生。一场车祸，导致真织患上了顺行性遗忘症，一觉醒来她无法想起之前发生的事，只能靠着墙上的提示和手边的日记恶补过去一段时间的点点滴滴。而为了防止有人借此欺负真织，这个秘密只有她的父母以及最信赖的好友小泉（古川琴音 饰）知晓。于是，这段充满未知和新奇的恋爱悄然开始，少男少女面带笑容，不知明天归往何处……　　本片根据一条岬的同名原著小说改编。

经过十几年的打拼，贺立群（冯远征 饰）和田文洁（陈冲 饰）夫妇总算拥有了自己的房子。就在他们乔迁未久之时，立群的哥哥立众（丁霄汉 饰）将母亲送到弟弟这里。此前，贺母一直与立众夫妇居住，立众的老婆邱东兰（梁丹妮 饰）造就受不了这种跟婆婆同在一个屋檐下的日子。刚好贺母崴脚，东兰利用这个机会怂恿丈夫将“包袱”送了出去。　　立群夫妇还未正式享受期盼已久的独立生活，贺母的到来便引起轩然大波。在此之后，两代人不同的观念，以及婆媳之间固有的鸿沟不可避免发生碰撞，甚至连文洁的妈妈也搅和进来。鸡毛蒜皮，家长里短，让这些早已为工作疲于奔命的中年人更加难以应付……