一千零一

刚出狱的女子Inez从纽约市福利系统夺回6岁的儿子，从此两人共同生活，面对生活的风波、真实与谎言。

超人3 Superman III

超人又回来了！这次，超人克拉克（克里斯托弗•里夫 Christopher Reeve 饰）回家乡去参加高中同学聚会。聚会上，克拉克重遇了以前就一直心仪的女孩拉娜（安妮特•奥图勒 Annette O'Toole 饰）。爱火重燃的克拉克对拉娜展开了爱情攻势，两人很快就堕入了情网。正当两人浓情蜜意时，发生了一场灾难。本应马上出动的克拉克因为沉浸在和拉娜共处的时光而延误了救灾，导致了更多无辜的人们的伤亡，为此克拉克感到异常的自责。                                                                    　　同时，野心勃勃的巨富利用气象卫星技术控制着世界各地的气候以此牟利，造成了很多地方天灾连连。他心知超人一定会来找自己的麻烦，于是不惜重金又制造出了一个超级电脑机器人用来对付超人。克拉克这次能否最终战胜邪恶？

新古惑仔之地狱龙

由郑浩南，巫启贤等领衔主演，2004年最新火爆动作大片——新古惑仔之地狱龙，做人，要做主，做事，要做庄，我是老大，我怕谁！

Fing头K王之王

　　少女在跳舞期间，突然晕倒，送院时已经死亡，警方高层十分重视，帮办珍全权处理此案件，更派出沙展豪帮手。珍晚晚带队到标的场查牌，但每次都没拉人，众伙计不满。森女朋友玲生日与一班姊妹及森到标的fing场玩，被森发现斯(森弟)在卖丸仔，森警告斯，叫他不要再卖，斯讲是子扬的主意。另一边，标场被找到丸子，标被带回警署，标担保外出，叫子扬三日内给他一个答案，子扬最后找斯作替死鬼，更用计另到标走佬，子扬更告诉森，说斯乃大佬所杀，更收买森与他一起合作，一起追杀标

芦荡小英雄

上映：1977年地区：中国大陆 颜色：彩色 时长：20分钟 类型：动画片故事梗概: 　　抗日战争时期，北方农村有一个名叫小牛的少年，在党的领导下，参加对敌斗争。有一次，八路军交通员马叔叔送情报给游击队，路上遇到了鬼子和伪军。小牛机智地引开了敌人，使马叔叔脱了险。游击队根据马叔叔送来的情报，定好了夺取敌人武器的计划。小牛接受了游击队交给他给敌人当“向导”的任务，巧妙地把敌人引入了芦荡深处游击队的伏击圈，配合游击队缴获了鬼子的一大批武器，全歼了敌人。

长空比翼

泉影微电影

泉影微电影为您提供正能量影ccc。

欧洲的某个地方

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.

浓情女人香

毁灭之日 10.5（国语版）上

魂断疯人院

《魂断疯人院》的故事发生在上世纪的战争年代，围绕女精神病医生静秋无故被强行关押到疯人院的线索展开。志同内心一直默默喜欢着静秋，虽然他的情感一直被静秋忽视。在静秋伺机为自己寻找精神正常的证据的过程中，作为主治医生的志同给予她尽可能的照顾，但是他的动机却绝非表面看起来那样的单纯。面对静秋的男友文远，志同展现了更多的沉静与冷漠，他在静秋与文远之间充当的角色十分耐人寻味。

青梅之恋

省下派村第一书记林思冬和山村女教师沈青儿通过自媒体宣传家乡的风光和民俗文化，共同的事业和爱好使他们相知到相恋，抒写了青梅林里一段动人的爱情故事