你是好孩子

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暂无简介

简介：

《电话》骨折女孩侑真（李彩英 饰）百无聊赖待在家中养伤，这天她偶然收到一个镜子的快递，之后通过手机和某个陌生男子聊天。聊兴正酣，她给对方发去一张自己的照片，而对方则回过来一模一样的照片，并声称就在她的身边。

简介：

这部 1985 年上映的喜剧片讲述了 1965 年前后，一群淘气的青少年在布鲁克林的一所天主教高中制造混乱的故事。

简介：

徐珠熙（高泰希 饰）从小就对马有着特殊的感情，对赛马这项充满了激情和活力的运动更是情有独钟。经过不断的努力和拼搏，徐珠熙成为了赛马界冉冉升起的新星，然而就在这个节骨眼上，一场意外的发生让徐珠熙永远的失去了心爱的马匹，亦就此告别了这她挚爱的事业。
　　失去一切的徐珠熙陷入了痛苦和绝望之中，她来到了济州岛，希望在这里能够重获内心的平静。一次偶然中，徐珠熙结识了名为友植（杨东根 饰）的男子，巧合的是，两人有着极为相似的经历。在友植的鼓励和陪伴下，徐珠熙决定再度向赛马运动发起挑战，在此过程中，她和友植之间的距离亦越来越近。

简介：

一名探员和一名连环杀手组成了看似不可思议的小分队，共同对抗全球拐卖儿童和性奴贩运网络。

简介：

　　汇集民间真实存在的“阴婚”、混乱意识中隐现的“红衣女子”、谁接近谁丧命的“克人”体质等多重惊悚元素，在交织缠绕的情感线中，迸发“取材于现实”的真实恐怖。荒诞离奇、怪事连篇引尖叫，魔鬼“越界”出奇制胜击溃内心防守，阴阳相隔的“跨时代”忠贞爱情惊天地泣鬼神，死神出击、丧命夺魂恐慌“超真实”野蛮生长，山崩地裂式恐怖视听盛宴一触即发！

简介：

“狼穴探密”任务完成后，特遣队来不及稍做休息就又接受了一项新的任务：设法接近日军的虎头要塞，彻底摧毁对苏联远东军进入战略反攻构成巨大威胁的、号称“亚洲第一炮”的一口巨型火炮。为此，张飞虎和他的特遣队员被秘密空投到虎头山北坡，等待着山下伐木场的秘密情报员刘工头的前来接头。在青树岭，特遣队苦苦等来的不是自己的情报员刘工头，而是日军特务机关长殿邑宽。幸好张飞虎及时识破，迅速率特遣队员们突出重围才避免了一场不必要的战斗。情报员刘工头的不幸被捕，让初来青树岭的特遣队暂时与上级组织失去了联系。就在特遣队一筹莫展的时候，神秘的“火狐狸”派来了一个自称是胡半仙的干瘦老头。在胡半仙的带领下，特遣队来到关帝庙，终于见到了虎林地下组织的负责人司徒燕和即将起义的森林警察大队长程平山。在司徒燕的指点下，安哲民乔装打扮，以日军少佐的身份混进了日军军官俱乐部，并以其佯装的对兵器的特殊兴趣取得了日军兵器专家河边中佐的信任与赏识。不仅如此，顺利混进虎头要塞的安哲民还深受虎头要塞指挥官西胁武的女儿西胁贞子的好感。有了这一便利条件，安哲民得以目睹号称“亚洲第一炮”的巨大威力，同时也侦察到要塞周边的地形情况。前期的成功侦察，却因为司徒燕和学生姚一珍的被捕而被迫停了下来。出卖司徒燕的是暗藏在杂货店的日本特务机关汉奸石盛富。为了铲除石盛富的汉奸队，张飞虎巧施妙计，诱导汉奸石盛富将他手下的特务们带进入了森警大队长程平山预先设下的埋伏圈，一举铲除的汉奸队，并成功地营救司徒燕和姚一珍于火坑。一个偶然的机会，森警队员挟持了西胁贞子。安哲民、王天晓、杜刚、木日图在张飞虎的授意下，乔装成日军士兵，从森警队手里救出西胁贞子，并借此机会进入虎头要塞。随着一声震耳欲聋的巨响和强烈的闪光，“亚洲第一炮”顿时在特遣队员安置的炸药下化成了一堆废墟。 “亚洲第一炮”的成功摧毁，解除了对苏联远东军的巨大威胁。当特遣队员们又一次顺利地完成任务时，中苏边界上，一辆辆满载全副武装苏军士兵的卡车急弛前线，打响了苏军出兵东北向日寇宣战的远东战役。

简介：

千年前一寒门学子在桃林中苦读圣贤之书，一只白狐被刁蛮公主追杀至此，得书生相救，但书生却因救下白狐而被公主杀死。那一幕凄凄惨惨，小白狐已通灵性，心中感恩，在书生身旁久久不肯离去。 千年来，小白狐在佛前参悟，等待轮回转世的书生，于是小白狐踏遍红尘，苦苦寻找无名书生的转世。一寻，便是千年。 千年后，天界、人界、魔界，三界被小白狐的授业恩师灵狐仙君掌控，三界陷入馄饨。 转世的书生和修炼成人的小白开启了他们人魔相恋和拯救三界回归正道的传奇故事。

简介：

天文学家发现异常现象正朝地球太阳系而来。富裕的精英阶层对人类毁灭一事秘而不宣，以便做好自救的准备。灾难发生后，人类物种的幸存者不知疲倦地试图在一艘不稳定的母舰上生存下来。

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安全员克里斯汀正处于摸不清自己的阶段，而他也与新搭档接下了追捕俄罗斯特工的任务。私生活与工作皆变得棘手的同时，克里斯汀必须想办法理清疑惑，确认自己的真实身份。

简介：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.

简介：

汉娜（卡罗利妮·舒赫 Karoline Schuch 饰）是一名正在攻读企业管理专业的大学生，在毕业之前，她决定千里迢迢前往以色列实习，她坚信这样一段并不轻松的实习经历将会给她的个人简历添上浓墨重彩的一笔。在以色列当地的一所专门照顾残障人士的机构里，汉娜邂逅了名为伊泰（Doron Amit 饰）的以色列男子，巧合的是，伊泰一直希望有朝一日能够前往柏林生活，随着时间的推移，一拍即合的两人之间渐渐碰撞出了激情的火花。一次偶然中，汉娜发现，自己的母亲竟然于二十年前也来到过以色列，不仅如此，年轻的母亲还在这里经历了一段奇遇。这个秘密的发现成为了汉娜和母亲之间糟糕的关系的润滑剂。