簡(jiǎn)介：

　　豫劇電影《天職》主人公紀(jì)忠的原型是全國(guó)唯一連續(xù)兩屆獲得“全國(guó)紀(jì)檢監(jiān)察系統(tǒng)先進(jìn)工作者標(biāo)兵”稱號(hào)的周口市紀(jì)委書記楊正超，影片以其真實(shí)的事跡為創(chuàng)作藍(lán)本，熱情謳歌了新時(shí)期紀(jì)檢監(jiān)察干部親民、愛民的公仆情懷和勇于擔(dān)當(dāng)、秉公執(zhí)紀(jì)的英模形象。
　　電影版《天職》由河南國(guó)杰文化傳播有限公司、國(guó)影宣文化傳媒(北京)有限公司聯(lián)合拍攝。影片由著名劇作家陳涌泉編劇，國(guó)家一級(jí)導(dǎo)演王冰河執(zhí)導(dǎo)，江團(tuán)結(jié)、黨玉倩分別飾演男、女主角，中國(guó)戲劇梅花獎(jiǎng)獲得者李樹建、著名豫劇表演藝術(shù)家張寶英等將傾情加盟。

簡(jiǎn)介：

南方邊陲小鎮(zhèn)，綽號(hào)“釘子李”的老人自恃棋藝高超，他將老將釘在棋盤上，聲稱無(wú)人能令他拔釘挪將，獨(dú)孤求敗。在那個(gè)特殊的時(shí)代，百萬(wàn)青年上山下鄉(xiāng)。小鎮(zhèn)新來(lái)的書記（牛犇飾）輸棋后憤憤不平，派下屬去城里尋找擅長(zhǎng)琴棋書畫的人才。外號(hào)“棋呆子”的北京青年王一生（謝園飾）稀里糊涂成了破壞文化大革命的現(xiàn)行反革命，最后被尋找他的人救了出去。他似乎對(duì)所要去的地方根本沒任何想法，只要有飯有棋就一切都好?！昂我越鈶n，惟有下棋?！贝糇右恍闹辉谄寰郑麑⒃谀莻€(gè)陌生的所在和各路高手留下令人神往的對(duì)決……本片根據(jù)阿城的同名小說改編，并榮獲1989年度金雞獎(jiǎng)最佳男演員獎(jiǎng)（謝園）。

簡(jiǎn)介：

　　Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'
　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.
　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.
　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.
　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.
　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

簡(jiǎn)介：《長(zhǎng)生劫》是一部雙男主電影，為系列人氣電影《男狐聊齋》的第三部作品，講述了凡人少年云月（高凱 飾）獨(dú)活世間三百年，一直追尋自己長(zhǎng)生的秘密。而青丘山狐族少主白辰（漆培鑫 飾）得姑姑白九顏指點(diǎn)，還了塵世恩情，便可飛升成仙。機(jī)緣巧合下塵世中白辰與凡人云月的相遇，讓這段因緣蒙上了神秘面紗。

簡(jiǎn)介：

《極斗4之暴殺令》故事講述香港的家庭暴力和女性被侵犯事件，各人對(duì)事發(fā)的反應(yīng)，當(dāng)中有人選擇以暴易暴，替天行道，其實(shí)為社會(huì)和法律不容，因?yàn)橄愀蹮o(wú)蝙蝠俠，不可以執(zhí)行私刑，其實(shí)電影帶出社會(huì)問題令人反思。

簡(jiǎn)介：老手與菜鳥飛機(jī)師駕駛的是中央情報(bào)秘密行機(jī)，運(yùn)載東西更是包羅萬(wàn)有，從難民到軍閥，從手榴彈到小豬，真是無(wú)奇不有。

簡(jiǎn)介：在西部的荒漠小鎮(zhèn)，村民甲為了給女兒看病四處籌資，同時(shí)還找到某旅店經(jīng)理索要舊賬，結(jié)果被臭罵而eee。這時(shí)，旅店突然匯聚了一伙人，有討要貨物的生意人，“替天行道”三人組，維護(hù)正義的安保二人等等。他們因?yàn)楦髯阅康亩鴣?lái)，卻相互認(rèn)錯(cuò)、彼此隱瞞，個(gè)個(gè)成了“社會(huì)戲精”。最后，這一場(chǎng)鬧劇以好人村民甲的圓滿人生而結(jié)束。

簡(jiǎn)介：巴黎遭遇地震，致命的煙霧從地表升起，整個(gè)城市陷入了恐慌，離異的馬蒂厄（羅曼·杜里斯 飾）和安娜（歐嘉·柯瑞蘭寇 飾）與其它幸運(yùn)者逃到樓頂，暫時(shí)躲過一劫。然而他們患有嚴(yán)重呼吸道疾病的女兒薩拉（芳汀·阿杜安 飾）必須待在家里全封閉的氧氣艙當(dāng)中，此時(shí)全城停電，救援隊(duì)遲遲不來(lái)，女兒的氧氣艙隨時(shí)面臨著斷電的危險(xiǎn)，為了救女兒，馬蒂厄和安娜抱著必死的決心離開了安全的屋頂與死神賽跑。

簡(jiǎn)介：　　中東國(guó)家伊維亞共和國(guó)發(fā)生政變，武裝沖突不斷升級(jí)。剛剛在索馬里執(zhí)行完解救人質(zhì)任務(wù)的海軍護(hù)衛(wèi)艦臨沂號(hào)，受命前往伊維亞執(zhí)行撤僑任務(wù)。艦長(zhǎng)高云（張涵予 飾）派出楊銳（張譯 飾）率領(lǐng)的蛟龍突擊隊(duì)登陸戰(zhàn)區(qū)，護(hù)送華僑安全撤離。誰(shuí)知恐怖組織扎卡卻將撤僑部隊(duì)逼入交火區(qū)，一場(chǎng)激烈的戰(zhàn)斗在所難免。與此同時(shí)，法籍華人記者夏楠（海清 飾）正在伊維亞追查威廉·柏森博士販賣核原料的事實(shí)，而扎卡則突襲柏森博士所在的公司，意圖搶走核原料?；鞈?zhàn)中，一名隸屬柏森博士公司的中國(guó)員工成為人質(zhì)。為了解救該人質(zhì)，八名蛟龍隊(duì)員必須潛入有150名恐怖分子的聚集點(diǎn)，他們用自己的信念和鮮血鑄成中國(guó)軍人頑強(qiáng)不屈的豐碑！
　　本片根據(jù)也門撤僑事件改編。

簡(jiǎn)介：

　　出品單位: 北京九州同映國(guó)產(chǎn)數(shù)字電影院線
　　本片講述了許成山，作為被縣教育局多年以來(lái)連年聘用的民辦教師，一直干到二十年后的一天，突然有一天由于國(guó)家教育政策的一再改革和變化，遭到了不能再被續(xù)聘之而失業(yè)后所發(fā)生的一系列感人的故事。