影片仿照電影《上帝之城》，《天才的西班牙人》講述的是埃德加.迪內歐（戴迪.揚基 飾）的故事，一個來自波多黎各貧民區的憤青，他的與近鄰暴徒一起的生活和與城鎮女孩之間的愛情，他面臨的兩個選擇：做為黑社會老大去死，還是做為即興音樂歌舞王去生活。 影片的主演戴迪.揚基（Daddy Yankee）原名Raymond Ayala，1977年2月3日出生在波多黎各，2000年與大牌DJ Playero合作出版首張個人專輯El Cartel de Yankee（cartel是西班牙語海報的意思），成為當時Reggaetón音樂的探索性先鋒專輯之一（Reggaetón音樂產生于90年代初期的波多黎各，該音樂形式結合了傳統Salsa音樂，牙買加的Reggae，以及Hip Hop等多種音樂風格為一體），并以自己獨特的演繹讓Reggaetón音樂引起了美國和歐洲主流流行音樂...
米婭的目的地婚禮似乎注定了，當她的新娘黨不是太熱衷于做所有的工作，把一個破舊的夏天的卡姆變成她的夢想的場所-當他們開始被神秘地殺死，這也沒有幫助。
Follows a pair of siblings who love but distrust each other as they embark on a white-water rafting trip with a small group. One of their friends from childhood turns out to be more dangerous than he appears.
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.
趙子龍（元彪 飾）和吳貴德（曾志偉 飾）兩人是無話不談的好友，而兩人的父親一個是占卜術士，一個是勾魂鬼差，這截然不同的身份令他們常常鬧出不少笑話。某日，吳貴德代替趙子龍演一出跳樓戲，結果發生意外，所幸趙子龍的父親阻止了鬼差收走吳貴德的魂魄，否則吳貴德早已經靈魂出竅。 吳貴德起死回生，趙子龍亦與名為阿樂的女孩成為了情侶，在一片祥和的氣氛中，阿龍的父親發現自己的行為惹惱了其他鬼差，最終，他慘遭殺害。趙子龍的父親死后，趙子龍在鬼使神差之下竟然開始收魂，原來，鬼差一職世代相傳，一任喪命，就要由他的下一代來填補空缺，為了讓趙子龍擺脫這悲慘的命運，吳貴德的父親和勾魂鬼差開始了一場惡戰。
傳記作家喬治赴瑞士采訪卓別林（Robert Downey Jr 飾），后者將自己的故事娓娓道來……1894年的英國，小小年紀的卓別林已經開始為臨時演員母親救場，但失祜的困苦生活導致卓別林兄弟分離，母親也因發瘋入院。1903年，卓別林經哥哥介紹進入一家英國劇團開始自己的 演藝生涯，不久他打出名號，獲得美國制片廠的邀請，在美國，卓別林接觸到夢幻般的電影藝術，并用自己的靈氣在電影這種媒介的幫助下名利雙收。卓別林無法忘記自己的出身，掌握制片權后堅持在自己的影片中加入批判精神，也因此被扣上紅色份子的帽子，惹上諸多麻煩。這位卓越的電影人經歷了政治打壓、情人們的離去、成功與失落后垂垂老矣，他在影院看著自己當年的電影，潸然淚下。 本片獲1993年英國電影學院獎最佳男演員，倫敦影評人協會年度演員獎，芝加哥影評人協會獎最有前途女演員獎。
スマートフォン向けゲームアプリ「Fate/Grand Order」を初めて劇場版アニメ化し、人気エピソード「第六特異點」を基に描いた「劇場版 Fate/Grand Order 神聖円卓領域キャメロット」の後編。西暦1273年のエルサレム。3つの勢力が対峙するこの地にたどり著いた遍歴の騎士ベディヴィエールとカルデア一行は、白亜の城を築き民を殺戮する獅子王と“円卓の騎士”を倒すため、“山の民”と手を結ぶ。壯絶な死闘を終えた彼らは、強大な力を持つ“太陽王オジマンディアス”に同盟を提案。しかしオジマンディアスは獅子王の計畫を明かし、自らの民を守るため同盟を拒否する。獅子王の真意を知ったベディヴィエールたちは、その目的を阻止するべく、聖都キャメロットへの進撃を開始する。