西門慶（金城武飾）、金毛強（羅百吉飾）和處男輝（蘇有朋飾）雖為感情十分要好的死黨，但對愛情的態度卻截然不同。純情的西門慶愛上了名為阿音（朱茵飾）的美麗女孩，然而，讓西門慶沒有想到的是，自己第一個喜歡上的女孩，其真實身份居然是自己同父異母的妹妹。盡管西門慶和阿音在職場上有著諸多的爭吵，但西門慶心中對于阿音的感情卻越來越深。然而，阿音喜歡的卻是她的上司，可她并不知道上司早已經有了家室，而自己在不知不覺之中成為了第三者。西門慶和處男輝將事情的真相告訴了阿音，阿音傷心欲絕，就在此時，風流成性的金毛強企圖乘虛而入，向阿音展開了熱烈的攻勢。
影片從家喻戶曉的安徒生童話中汲取靈感，以天真、勇敢兼具反叛精神的美人魚愛麗兒（海莉·貝利HalleBailey飾）為主角。渴望探索大海以外世界的她愛上了人類王子亞歷克（喬納·豪爾-金JonahHauer-King飾）。愛麗兒追隨內心的聲音，不惜違背傳統，與邪惡的海底女巫烏蘇拉（梅麗莎·麥卡西MelissaMcCarthy飾）達成交易以換取體驗人類生活的機會，卻發現將自己和父親都置于極度危險的境地……
外人看來，彼得（連姆·尼森 Liam Neeson 飾）無疑是一個幸福的男人，妻子麗薩（勞拉·琳妮 Laura Linney 飾）溫柔漂亮，兩人的婚姻穩定而美滿。可近日來，彼得發現麗薩的行為舉止越來越奇怪，多疑的他本能的想到，麗薩可能已經另結新歡了。面對妻子的出軌，占有欲極強的彼得感到妒火中燒，通過種種線索，一個名叫雷夫（安東尼奧·班德拉斯 Antonio Banderas 飾）的男人浮出了水面。 追隨著麗薩的腳步，彼得來到了意大利，在這里，他果然見到了雷夫。狡猾的彼得決定先隱藏身份，接近雷夫。可是，隨著彼得和雷夫的關系越來越近，彼得發現自己漸漸無法控制自己的言行，他對雷夫的存在深惡痛絕，恨不得殺之而后快。
亞伯拉罕是一個88歲的猶太裁縫，他準備離開布宜諾斯艾利斯前往波蘭，在那里找尋在納粹占領時期救過他一命的恩人。面對種種困難，在將近70年沒有任何關于恩人的消息后，亞伯拉罕還是竭盡一切試圖找到他的老朋友，并履行他的承諾：當他們終有一天見面時，亞伯要告訴他精彩的一生
退伍軍人的主人公潘五月，主動放棄城市優越工作和生活，毅然回到家鄉帶領全村父老種果樹、搞開發、辦產生、興旅游，通過自己勤勞的雙手脫貧致富、振興家鄉的感人故事，影片通過一個個性格鮮明的角色和笑料百出的趣事，小中見大地反映出改革開放40年來農村、農業、農民的新發展、新變化、新面貌，向社會生動傳遞正確價值導向，弘揚主旋律、傳播正能量。
該劇改編自格里高利·大衛·羅伯茨2003年的同名暢銷小說，講述銀行搶匪LinFord（查理·漢納姆飾）自澳洲越獄后逃往印度孟買，一場救贖之旅就此開啟。Shantaram在印地語代表“和平之人”。
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.
香港政府實施即捕即解措施，以壓抑內地偷渡來港的非法入境人潮，而內地父母把子女偷渡到香港，往往付出金錢，而常有人財兩失的情況。
電影《夢想者》以著名勵志演講家王國權為原型進行改編、創作。影片以“青春”、“夢想”、“奮斗”等主題，講述了一個由養父帶大的孩子，在成長道路上的心路歷程。因為養子的身份，從小受盡鄰里的異樣眼光。本希望能夠在學業上一鳴驚人，無奈命運弄人，高考幾度失利，工作后四處碰壁，卻屢敗屢戰，終于站上夢想的舞臺，并用自己的事跡感化了一代代莘莘學子。
母親的突然離世，讓少女汪嵐（瞿穎 飾）深受打擊，父親己離家出走多年。一天，她做了一個奇怪的夢，夢中的母親慘遭他人殺害，醒來后她按照夢境翻開莎翁的《仲夏夜之夢》，果然從中翻出了夢中所見的房契和地圖，牙醫男友路芒（尤勇 飾）認為她產生幻覺，但汪嵐認為夢中的一切是真的。法醫鑒定母親系自殺，但汪嵐感覺母親死的蹊蹺，她與路芒經多方尋找，終于找到了夢中母親遇害的那棟小樓，不料詭異的現象接連發生。汪嵐的生父劉家新（張先衡 飾）感覺女兒要出事，他假裝租房，實則為保護女兒。路芒的助手林護士（耐安 飾）受汪嵐養父汪敬（吳文倫）要挾，欲在風雨之夜除掉汪嵐，不料自身命喪黃泉。
在這一季里，埃德·斯塔福德去了戈壁、危地馬拉、納米比亞、巴塔哥尼亞、菲律賓和挪威。