此为以动荡的上海为背景拍摄的民初动作片，描述四名曾经一齐被俘虏的军人在解甲归田后各散东西，其中梁家辉做了上海的巡捕，他找来昔日战友李子雄、郑浩南一齐加入天罗地网小组，合力对付大毒贩，而此人正是昔日俘虏他们的军官郑少秋。导演黄志强采取鲜艳的映象设计和激烈火爆的动作场面来包装这部怀旧电影，使它的外观显得相当有吸引力，可惜故事未能摆脱同类电影的老套，以致形过于质。

　　所谓Liar Game，是由一个名为“LGT事务所”的神秘组织举办的比赛，规则是让选手们通过相互欺骗来争夺奖金。　　单纯的大学生神崎直（戸田恵梨香饰）在两年前也不慎卷入这个可怕的游戏，当时她在天才诈欺师秋山深一（松田翔太饰）的帮助下，才好不容易退出比赛，恢复了平静的生活。　　没想到Liar Game战火又起，为了帮助更多无辜的人，小直屹然挺身而出，而秋山为了彻底摧毁LGT事务所也重返战场，他们意外地和曾经的敌人福永（铃木浩介饰）相遇并被编为一队，这一次，他们将要迎来的会是怎样的游戏和对手？

　　卡塔莉娜（内田真礼 配音）是含着金汤匙出生的千金大小姐，15岁那一年，因为撞到了脑袋而意外的获得了转生之前的记忆，卡塔莉娜震惊的发现，此时的她正处于前世的她特别喜欢的一款乙女游戏《FORTUNE LOVER》的世界之中，而她在这个世界里扮演的角色，竟然是游戏里专门设置用来妨碍游戏主人公恋情的邪恶反派，而她最好的结局是被流放，最坏的结局是死亡！　　金发碧眼黑心的抖S王子吉奥尔多（苍井翔太 配音）、拥有美艳的外表和扭曲的内心的吉斯（柿原彻也 配音）、拥有杰出音乐天赋的亚兰（铃木达央 配音）、魔性美少年尼克尔（松冈祯丞 配音），卡塔莉娜究竟要如何同他们相处才能够避免惨死的命运呢？

　　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.

　　小镇上的三子有个沉闷的家庭，他暗恋上打字复印店的女孩。女孩进城打工了，他讲述自己痛苦的爱情，感动了给老板开宝马的发小马海，决定趁老板外出开车带他进城......

　　Follows Fields as he's dropped into some of the most extreme and deadliest places on Earth for seven days and his task is to keep himself and his small film crew alive and lead them to an extraction point.

　　在这部纪录片中，埃及考古学家们搜寻一座被掩埋的金字塔。他们掘开尘封的历史，发现了 4000 多年前的坟墓和文物。

　　《国家代表2》的剧本已经完成创作，正在进行选角工作。　　《国家代表2》将讲述2003年参加青森亚洲冬季运动会的韩国女子冰球代表队的故事，而队员中还有一名北韩出身的脱北队员。该片制作公司是曾制作《美女的烦恼》、《我的帕瓦罗蒂》等影片的KM Culture，而导演一职将由曾执导《我的新拍档》、《甘先生的胜利》等影片的金钟贤担任。　　该片将在选角工作完成后开机拍摄，预计2016年年初上映

　　故事延续上一季，女神捕沈君夜升入京城后，跟随神捕司统领李成器，破获多起悬案，最后竟意外得知，李成器是自己的未婚夫婿路小白假扮。两人率领神捕司众人，与邪恶组织千刃斗智斗勇，历经艰险，终于将为祸不浅的千刃彻底铲除，有情人终成眷属。

　　在田家的安排下，曹家望（邵桐）调进省城，当上了某医院的内科主任，举家搬迁到省城。玉辉（魏巍）得益婷婷（岳菁蔚）父亲的帮助，在省城的开发区做工，金凤（白珊）也随玉辉搬迁到开发区居住。　　金凤为翠娥举办寿宴，不料横生枝节，工人肇事将玉辉、婷婷扣押……　　黎家生意倒闭，家境陡然跌入深渊，黎父到南方治病，玉辉受黎父之托，精心照料婷婷并相爱，而暗恋着玉辉的家欣则陷入痛苦之中不可自拔，最后下嫁张建良。　　曹家望与田文慧婚后，依然为了翠娥（刘丹）的安置不断发生龃龉。先是哄骗翠娥进精神病院，后来在淑霞的怂恿下，将翠娥送到乡下树根家，树根待翠娥如同畜生，成天用狗链子将翠娥锁住……　　张建良知道家欣暗恋玉辉，则对家欣百般折磨虐待；玉辉得知家欣是为自己而被迫下嫁建良，内心痛苦可又无奈。　　家望假意孝敬后母金凤，博取了“十佳青年”的虚名。武雄得知，愤而动手打了家望；文慧生下孩子贤贤，淑霞喂养孩子不得法，致使贤贤因牛奶呛着造成智障；淑霞嫁祸金凤，逼迫金凤出走。　　金凤受辱，金泉与姐姐一道流浪，为救助患眼疾的姐姐，金泉在外打工，累得吐血……　　建良虐待家欣手段残忍，玉辉忍无可忍，将建良打成重伤，因而锒铛入狱。　　至此，家欣受虐、金凤金泉被逐出省城、玉辉坐监。好人命运一而再，再而三，跌入命运的谷底……　　家望与文慧感情不和，矛盾不断升级，后来发展到曹家望移情别恋，与酒吧服务员如艳幽会，倾吐衷肠……　　文慧见家望对自己愈来愈冷淡，心灰意懒，经常酗酒，深夜不归，建良因得不到家欣的芳心，一面想尽办法挤兑、报复、迫害家欣和玉辉，一面又跟文慧勾搭、酗酒，诅咒家望和家欣……　　儿女情事不断生出是非，虽然不断调停，但总是顾此失彼，让做母亲的翠娥、金凤悲恸伤感而又束手无策……　　十八年前坠崖落水，生死不明的冬生（岳跃利）被渔民救起，死而复生，却失去了记忆，在外求生流浪的当口，与金凤相遇而不相认，金凤此时也已经双目失明，两个虽不相认的老人相濡以沫，情意笃笃……　　冬生恢复记忆之后，目睹曹家与林家二代三对年轻人为情感，为生存而频频发生矛盾，感慨万千，以自己与金凤、翠娥的真挚情感教育后代。　　家望经过生活的阵痛、磨砺，经过父辈的教育，幡然醒悟，但武雄、金泉依然误会家望，致使家望总受委屈，而冬生更是恨铁不成钢，冷眼以待……　　文慧与建良酗酒浇愁，最后无法自拔，发展到上床。　　玉辉为改变家境窘迫的状态，为让婷婷过上幸福生活，被不法商人王坤海利用，陷入商业诈骗案，王坤海逃脱罪责，玉辉却二次入狱。　　家望为救助玉辉出狱不遗余力，花费重金聘请律师为玉辉打官司，建良则百般阻止……　　家望得知文慧与建良乱伦，情急之下，将文慧赶出家门，并正式提出离婚……　　田母因违规开办药店、非法经销药物，导致生意上一败涂地；田父因女儿文慧离婚、妻子生意破产，屡屡受挫，最后一命呜呼……　　田家虽然破败，金凤以宽容之心劝慰家境艰难的田母，田母感动而又羞愧；家望也并未因田家生意失意，嫌弃田家，反而与文慧重归于好……　　黎父东山再起，回归故里，与女儿团圆，得知玉辉与婷婷情深意笃，甚为高兴，拿出资产支持玉辉开办茶叶店，并对田家不计前嫌……　　玉辉与家望和好，曹家收回茶园，重振家业，东生、金凤和翠娥从此脱离苦海，一家团圆、和睦