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备注：已完结
类型：动作片
主演：范·迪塞尔 保罗·沃克 乔丹娜·布鲁斯特 泰瑞斯·吉布森 卢达·克里斯
导演：林诣彬
语言：
年代：未知
简介：蛰伏2年之后，多米尼克（范•迪塞尔VinDiesel饰）与布莱恩（保罗•沃克PaulWalker饰）再度联手把火车中的神秘豪车盗走，遭到了警察和黑帮分子的火线追杀。布莱恩和米亚（乔丹娜•布鲁斯特JordanaBrewster饰）到里约寻找援兵，并与多米会和。为了寻找多米等人的下落，FBI王牌探员卢克（“岩石”道恩•强森DwayneJohnson饰）挺身而出，组成精英部队，追查来到里约。他雇佣了丧夫的美丽女警艾莲娜（埃尔莎•帕塔奇ElsaPataky饰），一同寻找多米。与此同时，里约的地头蛇也对这些不速之客开火。三股势力开始相互缠斗。期间，因米亚怀孕，布莱恩决定陪她一起逃亡，所以多米只得依靠昔日老友探寻新车的秘密。在罗曼、韩等人的帮助下，多米终于找到了这辆车的秘密——芯片，并由此揭开了其中隐藏的一个不可告人的计划……
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备注：已完结
类型：喜剧片
主演：马修·麦康纳 埃米尔·赫斯基 朱诺·坦普尔 托马斯·哈登·丘奇 吉娜·
导演：威廉·弗莱德金
语言：
年代：未知
简介：22岁的毒贩克里斯（埃米尔·赫斯基EmileHirsch饰）欠了一屁股债，高利贷主正威胁要追杀他。为保性命，他想到了唯一的办法，就是谋杀亲母阿黛尔以赚取高额保险，并联合了父亲、继母和妹妹多蒂（朱诺·坦普尔JunoTemple饰）一起瓜分这笔横财。然而克里斯不愿自己动手，遂瞄准了专业杀手乔（马修·麦康纳MatthewMcConaughey饰），然而乔只做买卖不做慈善，筹不够钱不会动手。束手无策之时，克里斯只好先把妹妹暂时当“订金”交给乔。本以为万事办妥，只等坐收巨款的克里斯，却没想到事情竟往戏剧化的方向发展而去……本片曾获土星奖最佳独立电影、最佳男主角、最佳导演、最佳女配角、最佳编剧奖。
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备注：已完结
类型：喜剧片
主演：约瑟夫·克姆尔 兹旦内克·斯维拉克 丹妮拉·科拉洛娃 Marta Hr
导演：伊日·门泽尔
语言：其它
年代：未知
简介：In this film, a couple, after seeing the lovely job a friend of theirs has done in converting an old mill house into a cozy mansion, moves into an old farmhouse after persuading the current owner, an old man, to leave. When they arrive, he appears to be preparing to leave, but it soon becomes evident that the man has no intention of going to live with his children, and intends to stay in the house. At first, they find his presence unbearable, but when he must go to the hospital, they begin to realize that they care for the feisty old gentleman. ~ Clarke Fountain, All Movie Guide
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备注：已完结
类型：剧情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
语言：其它
年代：未知
简介：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.
