摩天楼

一辆休旅车冲下悬崖，司机当场死亡。死者涉及一桩枪案，但赃物却不见踪影。法国警官维威耶和瑞士警探梅耶再次联手破解谜团。

A colonial prospector in Southern India hunts for gold with a group of villagers, fighting sorcerers, wild beasts and their own frail psyches. Powered by throbbing action sequences, Thangalaan forges an epic period adventure about humans torn apart by ambition, greed, madness and desperation.

港城现新型毒品，牵出两年前的武装毒品走私案，线索指向宏图集团。转改后的陆云龙受命卧底调查，救下集团董事长李宏获信任。他发现二把手陈彪竟是当年杀队友的凶手他与卧底徐丽携手，历经与毒贩的生死较量，最终成功捣毁这一贩毒集团。

S城出现了一款叫“欧美拉”的暗网游戏，凡是被这款游戏选中的玩家，之后都会被游戏控制意识，供"高端玩家"享乐，以谋取利益。此时，游戏里出现了一群“隐藏玩家",他们将用自己的手段改变游戏规则...

在经历了一场惊心动魄的抢劫案后，主谋梅森（约翰-特拉沃尔塔 JohnTravolta 饰）带着他的盗窃团伙和他的爱人德克尔（吉娜-格申 Gina Gershon 饰）退出了犯罪世界。他们的幸福生活并不长久，戴克被臭名昭著的萨拉查绑架，萨拉查一心想要报复梅森。梅森别无选择，只能在新奥尔良一家豪华赌场内实施一次冒险的抢劫，这让他和他的手下与敌对的犯罪集团和 FBl 展开了激烈的争斗。为了双杀萨拉扎并拯救自己的爱人，梅森不得不在险象环生的赌场迷宫中赌上自己的性命，做出一个不可能的选择。

超级人工智能“智体”即将引爆全球核弹危机，把世界推向毁灭边缘。而伊森·亨特（汤姆·克鲁斯 饰）和他的IMF小队在上次行动中遭遇重创，团队濒临分崩离析。虽然伊森已获得关闭“智体”的钥匙，但要彻底消灭“智体”，完成这一拯救全人类的终极任务，仍需要IMF小队齐心协力突破重重困难。他们不仅要面对全知全能又无影无形的“智体”与其手下盖布瑞尔（埃塞·莫拉雷斯 饰）的百般阻拦，还要解决来自过去的种种恩怨。每个抉择都关乎信念与命运，等待伊森和IMF小队的，究竟是怎样的结局？

明朝万历二十三年，边关将领展从文被奸臣诬陷通倭遭满门抄斩，儿子展鸿逃亡，在秦川镇结识夏侯颖并相恋，却发现夏侯颖父亲夏侯霸天曾参与父亲的案子，背后真相逐渐浮出水面。最终，展鸿成功复仇，并被封为锦衣卫指挥使，继续整肃朝野。

在多年来严厉打击毒品的面前，狡猾的贩毒分子企图采用更为隐蔽的方式走私毒品，我缉毒精英们将计就计，展开了更周密而全面的缉毒行动。

一对关系疏远的兄妹联手展开了一场跨国劫盗行动，目标是找出传说中的“不老泉”，而这一路上，兄妹俩利用自己的历史知识破解沿途的各种线索，这段史诗般的冒险将改变他们的生活——并可能达到永生。

在一个被不公正所笼罩的国家，一个火热的年轻人面对强大的腐败网络，挑战现状，为平民人民的权利而战。

Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”