雍正王朝

简介：

怀孕公路女警简·阿彻（乔治娜·坎贝尔 饰）突遭噩耗，丈夫在例行巡查中被面具 “撒旦开膛手” 残忍杀害。凶手以撒旦仪式连环献祭，妄图借杀戮开启地狱之门。简强忍悲痛独自追凶，丧夫之痛与护子本能不断拉扯，追查中更发现命案牵扯自身家族隐秘。荒漠公路与废弃教堂的绝境里，她在复仇与生存间抉择，誓要亲手终结这场跨越多年、裹挟邪教执念的血腥诅咒。

简介：《神探夏洛克》（Sherlock）2016年推出特别篇，福尔摩斯回归原著维多利亚时代，调查一宗神秘的幽灵新娘谋杀案。Thomas Ricoletti惊讶地发现，几小时前自杀身亡的妻子Emelia Ricoletti身着旧婚纱再次出现了，她的幽灵带着强烈的复仇欲望在街上徘徊。从迷雾笼罩的莱姆豪斯到被废弃的教堂深处，福尔摩斯、华生以及他们的朋友不得不想尽办法对付这个“从坟墓里爬出来”的敌人，但最终的真相却出乎所有人的意料……

简介：患有短期健忘症的多莉（艾伦·德杰尼勒斯 Ellen DeGeneres 配音）曾经也拥有美好的家庭，然而一连串的意外让她与和蔼可亲的父母失散。此去经年，多莉邂逅了小丑鱼父子马林（艾伯特·布鲁克斯 Albert Brooks 配音）和尼莫（海登·罗兰斯 Hayden Rolence 配音），与他们经历了前所未有的大冒险。平静的日子里，童年时期的片段记忆突然闯入多莉的脑海，于是她再度踏上寻找父母的旅程。这一次，她来到了海洋生物博物馆，遇到了不打算回到大海的章鱼汉克（艾德·奥尼尔 Ed O'Neill 配音）以及童年时的朋友鲸鲨运儿（凯特琳·奥尔森 Kaitlin Olson 配音）。循着记忆中的蛛丝马迹，她离父母越来越近。然而在这一过程中，她又和马林父子失散了。n对友情、亲情的执着，让这群小家伙无论千难万险也要坚持到底……

简介：　来自未名地方的新生 Nanno 如伊甸园的毒蛇，放大人们的欲望，揭露心灵深处的黑暗。他是令人尊敬的老师，一场视频风波揭露了老师背后的肮脏行为，性侵、威胁，道貌岸然的样子由 Nanno 来放大！

简介：故事发生在我国古代，青年书法家赵旭之（王伯昭 饰）为酒家写酒幡时被齐太尉（程之 饰）长女文娟（赵静 饰）相中，当场产生倾慕之情。中秋夜，太尉以观灯为由替女择婿，赵旭之颇得太尉夫妇赏识，愿认其为婿，由于赵不知文娟才貌惋拒，后经好友徐安民（丁嘉元 饰）劝说，勉强留在府内。临婚之日，太尉发现女婿不辞而别，好生尴尬，无奈中，让女儿与他人订婚。不久，赵旭之巧遇文娟，见其才貌双绝，十分后悔。后来赵旭之求官至左将军，亲自登门求亲，正遇护国将军桓述（迟重瑞 饰）也登门求亲，齐太尉令二人当堂比赛书法，结果难分伯仲，约定一年后再比。旭之励精图治，游历遍前人名帖，志在必得......

简介：90年代的哈城，刚刑满释放的徐铁（包贝尔 饰）偶遇装哑的舞女百灵（张梦露 饰），两人也在几次偶遇和深夜相伴中渐生情愫。直到除夕夜的温暖，让他们相互靠近，却又因现实隔阂、家人误解而屡屡拉扯。百灵为父还债的秘密账本，让徐铁读懂了她的苦衷，雷力的迫害更是将两人推向绝境，徐铁以命相搏救出被囚的百灵，终赢来家人祝福。这对孤独灵魂，在世俗重压下，以真爱焐热了彼此的人生。

简介：朱祥奋与二叔及三叔及茅山赌术之子弟。祥与三叔开设一所“赢钱专家与写字楼”，专为赌徒解决疑难。祥天生异禀，头顶上与脚底下皆有七星，成天地双合之势，可抗衡泰国邪术。高少少乃“女赌神”，年少气盛，自视过高，是大笑姑婆一名，惨被“泰国赌王”乃猜与手下黑女巫——蓝丝害死，变成冤鬼，终日缠着祥要其为她报仇，闹出笑话连篇。高少少之妹高豆豆武艺高强，因姐之死，与祥机缘巧合认识，一起对付泰国赌王，两人因此互相倾慕。二叔本是一位茅山师父，从不赞成祥及三叔自恃小聪明，为赌徒呃神骗鬼，但当得知少少无端被人所害，亦本着慈悲、正义之心，联手合力对付泰国赌王。

简介：英国当地时间5月19日，英国哈里王子和美国影星梅根·马克尔的婚礼将在温莎城堡举行。英国电视台ITV，第一手独家现场视频将在婚礼结束后，于北京时间5月20日呈现给各位观众。

简介：讲述了一位坚韧不拔的年轻寡妇勇敢地穿越危险的沙漠，解救被绑架的妹妹，并向杀害她丈夫的歹徒复仇的故事。与此同时，她还与毁了她一生的同一团伙的前成员不期而遇。

简介：The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

简介：维多利亚大瀑布是地球上最引人入胜的景观之一。随着赞比西河河水从108米的高处奔腾跌入峡谷，水流的力量将水花散向半英里高的空中。这个故事是关于在这片宁静水域生活的生物栖息者的故事。他们生活在平静的河流上游，以及礁石林立的峡谷和连接这两个世界的小溪之间。

简介：

对年幼的爱美丽来说，世界是静谧而神秘的，直到一次与巧克力的奇遇点燃了她对生活的无尽好奇。在异国他乡的家中，她与温柔的女管家西尾小姐建立起深厚情感，也在她的陪伴下，学会聆听风、触摸雨、感受光。随着三岁生日临近，告别与失落悄然降临——亲爱的奶奶悄然离世，熟悉的日常也随之起了波澜。爱美丽开始意识到，那些看似平静如常的日子，藏着人生最深的悸动与转变。