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富貴的流浪漢

靠撿垃圾為生的王小明愛上盲人賣花女迷笛，誤認為王小明是富豪的迷笛多次得到王小明的幫助并最終治好了眼睛開了花店，王小明也因為幫助迷笛狼狽不堪離開了迷笛，后來，迷笛終于找到了王小明，兩個人幸福的在一起了。

夕陽天使

亞洲電腦業(yè)巨頭周氏兄弟發(fā)現(xiàn)其公司內(nèi)部的電腦系統(tǒng)于一夜之間感染病毒全部癱瘓，四處求救之時，一個自稱“天使”的神秘高手出手相助，麻煩成功解除，令周氏兄弟十分欽佩。出于好奇，他們提出與“天使”見面道謝，不想應約而至的“天使”是一對擁有天使面容的姊妹花——陳愛琳（舒淇）和陳愛群（趙薇），而之前的電腦中毒事件，也是由這對姊妹花一手策劃：她們是想借此突破周氏公司森嚴的保安系統(tǒng)，實施更大的陰謀。 　　女警江日紅（莫文蔚）聞得風聲，在愛琳和愛群實施陰謀時展開調(diào)查，不想仍讓她們得手。隨后，在周氏兄弟的策劃下，愛琳死于亂槍之下，可是現(xiàn)場留下的指紋卻是江日紅的。無奈之下，江日紅與愛群聯(lián)起手來，兩人逐漸由敵手變作朋友。

解決士

故事發(fā)生在一間小小的偵探事務所里，這里的主人是一名叫做姜泰錫（薛景求 飾）的男子。曾經(jīng)在警界叱咤風云的姜泰錫，做起私家偵探來亦是得心應手。某一日，姜泰錫接受了一個調(diào)查出軌事件的委托，而這個看似平常的委托卻徹底打破了姜泰錫平靜的生活。來到事件的現(xiàn)場，本以為眼前會是一副香艷場面的姜泰錫卻看見一具女尸出現(xiàn)在了視野之中，隨即而來的騷亂讓他明白自己掉入了某人一手編織的圈套之中。 　　姜泰錫接到一神秘電話，電話中人告訴姜泰錫，若想要重獲清白，唯有按照他的指使做事，而姜泰錫的一舉一動，都盡收在這個神秘人物的眼底。為了重獲自由，也為了查明事件的真相，屬于姜泰錫的大逃亡開始了。

妙女神探第六季

《妙探雙姝Rizzoli&Isles》此前雖未續(xù)訂，但作為TNT中收視名列前茅的劇集，不續(xù)訂是不可能的；TNT續(xù)訂了18集的第六季，在2015年的夏季播出，這集數(shù)肯定也是分上下季的形式播出了。

歐洲的某個地方

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.

CBA常規(guī)賽第12輪 浙江東陽光藥VS南京頭排蘇酒 20231204（蔡凱臣）

特工的特別任務

樹屋上的童真

曾經(jīng)，史蒂芬（凱文·科斯特納 Kevin Costner 飾）亦是懷揣著保家衛(wèi)國的熱血理想?yún)④娞ど狭藨?zhàn)場，然而，知道真正的身處于炮火之中時，史蒂芬才發(fā)現(xiàn)，戰(zhàn)爭，無論對于己方還是敵人，都是一場慘無人道的酷刑。史蒂夫幸運的成為了戰(zhàn)場上的幸存者，返回了家鄉(xiāng)，沒想到這里一切早已物是人非，史蒂芬決定依靠自己的雙手，重建家園。史蒂芬有兩個孩子，在孩子們眼中，浴戰(zhàn)火而重生的父親顯然就是英雄的典范，可是史蒂芬卻想向孩子們揭開戰(zhàn)爭的殘酷本質(zhì)。兩個孩子在一顆大樹上建造了一間樹屋作為秘密基地，沒想到這間樹屋卻成為了另一場戰(zhàn)爭的導火索。

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