⾹港，是⼀個⽂明、法治的社會，實在不應該存在⼀個不仁道、無法無天的監獄，尤其是⼀個負責收禁輕度罪犯，年齡由14歲至未滿25歲的青少年，美其名叫勞教中⼼。　　被囚禁的犯⼈每天經歷身、⼼、靈的虐打和侮辱，可以說那裡是⼈間地獄。　　主角阿凡，是⼀名古惑仔頭⽬，因⼀次與警員發⽣輕微衝突⽽被判入勞教中⼼。入獄後三⽇，已經忍受不住獄中的殘暴對待⽽決定⾃殺。獲救後，靠著⼀份堅持要出獄探望病危外婆的信念，忍辱偷⽣，⽽最終能以最短刑期離開。過程中阿凡⽬睹及經歷各種侮辱，更有遇上同囚離奇死亡的事件，真相將永遠⽯沉⼤海。　　真的只有⼀種⽅法讓⼈改過⾃身嗎︖世界上真的需要⼀所這樣的勞教中⼼嗎︖

　　美世代化妆品公司的总裁卓君临（罗嘉良 饰）一手建立经营着他庞大的化妆品帝国，经历了多年的风风雨雨，早就练就了一副处变不惊的态度。卓敏莉（黄心颖 饰）是卓君临的女儿，卓君临准备将整个集团的命运转交到她的手上。商业奇才潘少杰（郑俊弘 饰）是市场部的经理，可实际上，他的真实身份是一名商业间谍。　　随着时间的推移，公司内部接连不断发生的种种变数让卓君临开始意识到他的团队中可能出现了一个叛徒，在兵来将挡水来土掩的势头之后，卓君临开始将调查的范围转向内部，并且很快就将怀疑的目标放在了潘少杰的身上。为了打探商业机密，潘少杰选择接近卓君临的私人秘书陈晞文（李佳芯 饰）。

　　第41届人民选择奖（Peoples Choice Award）于北京时间1月8日，在美国洛杉矶举行颁奖典礼。来自美剧《极品老妈》的两位主演安娜·法瑞丝（Anna Faris）和艾莉森·珍妮（Allison Janney）接过去年“破产姐妹”的主持棒，携手主持本届人民选择奖…

　　用思想围炉，烤人间烟火。陕西广电融媒体集团（台）出品《西安人的歌·一乐千年》2022-2023跨年演唱会。辞旧迎新之际，为深深印刻在长安记忆里的诗、歌、乐、舞， 寻找当下注脚，寻找西安注脚，寻找经典飞入百姓家的人文注脚。

　　

　　全金属裂痕是一部聚米众筹、黑奥影视出品、著名导演殷悦执导，演员李熠霖，徐荷媛，安泳畅，郑礼宇，陈炫羽等主演的科幻、动作、惊悚和校园类型电影。主要讲述了大四技术宅男李易霖因发明智能软件“黎子”无意间陷入被神秘怪物追杀的境地，甚至连仰慕已久的女孩kimi都假信约会来刺杀他。整个学校在晚上似乎会陷入一种怪异的氛围，校长也未能幸免。李易霖决定追查到底，他发现那个怪物不是来自地球，而大学城里潜藏了许多秘密。为了拯救女神，也为了解决校园，他联合损友李秦凯、同学郑坤组成了一支校园防卫队，在伊娃的帮助下与怪物杀手决一死战。

　　系出名门、貌美如花且精通琴棋书画的冰妃冰若琳（徐晓璐 饰），入宫以来自然深得皇帝的喜爱。不过常言道“一如豪门深似海”，更何况嫁入官家，后宫内斗波谲云诡，暗潮涌动，庙堂之上危机四伏，风声鹤唳。昨日里还优哉游哉的冰妃，因父亲的关系而受到连累。家道中落不说，她也被打入冷宫。好在执掌冷宫的贾公公（盛卓新 饰）还算一位有心之人，让冰妃在肉膳工坊谋得一份差使。养尊处优的女孩本就不适应这种粗活，再加上曹贵人（来源 饰）、庄妃（杨悦心 饰）等老对手的出现，让败部冷宫更多了几分鸡吵鹅斗。　　而就在相爱相杀、相濡以沫的过程中，这些人的心竟前所未有地拉近了距离……

　　一到晚上就翻墙的守节15年寡妇“玉华”和四大门内所有人都垂涎的铁壁男，从事官“秀浩”的惊险搞笑动作古装剧。

　　该剧借由呈现离婚、再婚、卒婚等多样的婚姻样貌，探讨“幸福”的真正意义，是一部企图令所有世代有所共感与欢欣的家庭电视剧。

　　A singer holes up at a sinister estate to write new songs for his act. The ghost of his murdered wife begins to haunt him, then the person who actually killed her shows up at the mansion.

　　影片讲述的是法国著名作家大仲马（Alexandre Dumas l802～1870）和他在助手奥古斯特·马科（Auguste Maquet  1813～1888)之间的真实故事。　　马科生于1813年的巴黎，曾在公立查理曼中学就读，18岁成为历史学教授。之后，他转向文学领域。1838年，他通过内瓦尔，结识了当时已经非常知名的大仲马。他开始大仲马提供小说素材，概述情节和打草稿，还执笔写了很多作品的开头几章，包括《三个火枪手》和《基督山伯爵》。而大仲马则主要负责刻画人物形象，构建情节，并撰写所有重要章节的结尾，通常设置悬念以吸引读者。他声称只有当故事在头脑里全部完成后才开始动笔。就这样，大仲马领导了一个庞大的小说制造车间，分工合作，将一部部的小说源源不断地推向市场。大仲马总共写了约250部小说，但如此卷帙浩繁的作品并非都出自他一人之手，而是同73名助手合作的结果，从中不难看出他的精明之处。马科的名字是不会出现在书的扉页上的，作为回报，他得到了慷慨的酬劳。　　影片的故事的背景是在1848年2月，此时正是大仲马的高峰期。他隐退在城堡里，与他的合作者助手奥古斯特·马科一起创作。他们相识十年来，马科仍然生活在这位伟人的影子下...

　　Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...　　　　Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.　　　　Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.　　　　Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.　　　　Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.