寄生兽：灰色部队

88.18万次播放

骆驼崖村民风淳厚、勤奋尚武，村里男女老少都会点拳脚功夫，年轻的小伙子中，宝辉是最好的。宝辉自幼随爷爷学少林长拳，爷爷早先是少林俗家弟子，少林长拳所向无敌。宝辉得了爷爷的真传，年年在村里的庙会上拿冠军，年年让人在背后数落宝辉他爹，说宝辉他爹进城找了“小的”，忘了家里“老的”和亲生儿子。　　宝辉揣着爹的一张照片，瞒着爷爷进城找爹。宝辉问过不少人，可都说不认识照片上的人。有一天，宝辉找到尚武散打俱乐部，在俱乐部附近替一个青春美少女解了围。宝辉以一当十，打得那帮流氓混混落花流水，自己只受了点皮外伤。青春美少女YOYO感激宝辉的义勇，将宝辉介绍给她的干爹。沙干爹不仅替宝辉疗伤，得知宝辉进城找爹的事后，沙干爹还收留了宝辉。　　从那以后，宝辉一边帮沙叔叔捡废品，一边四处打听父亲的下落。沙叔叔打一开始就反对宝辉找爹，见宝辉执拗地寻找着自己的父亲，沙叔叔好几次都要赶宝辉走人。一个风雨之夜，宝辉愤然出走，YOYO冒雨将宝辉找回来的时候，沙叔叔情急之下说漏了嘴，把宝辉爹已经不在人世的事情说了出来。　　原来，沙叔叔就是宝辉的师叔。数年前，宝辉爹和师弟沙来顺征得父亲的同意，进城欲闯荡一番天地。宝辉爹和沙来顺进入尚武散打俱乐部后，遇到一届全国性散打比赛。宝辉爹急于成功，不顾高烧感冒上场比赛，结果让对手一拳打死在拳台上。宝辉爹死后，沙来顺为了慰藉师兄的亡灵，留在城里不再习武，化名“沙子”漂泊度日。　　宝辉知道了父亲的事情，发誓要在拳台上为父亲雪耻，为爷爷传授的少林长拳雪耻。天下的事情就这么巧，YOYO的父亲正好就是当年收留宝辉爹的尚武散打俱乐部的老总。看着爱女和一个叫宝辉的武术苗子关系不一般，尚武散打俱乐部的徐总、YOYO的父亲收下了宝辉，将宝辉培养成国际拳皇散打大赛的一名选手。　　国际拳皇散打大赛不分国籍、不分拳种，全世界散打高手都将在拳皇争霸赛上献技。宝辉在沙师叔的指导下，完成了专业化训练，做好了挑战各方高手的准备。一轮一轮的对决淘汰下来，宝辉站到了决赛台上，迎战来自泰国的拳霸。宝辉融散打和少林长拳于一体的组合拳法，最终击败了泰国拳霸，赢得拳皇桂冠。

2011 / 大陆

87.84万次播放

年过花甲的中国退休公民高达、吴立伟、金石结伴在东南亚某国旅游，意外得知当年亲密无间的小伙伴花容的女儿花出尘被当地黑社会非法拘禁，并勒索高额赎金。原来，花出尘和闺蜜假日出游，被骗入地下赌场，不小心喝下含有迷幻剂的饮料，使自己陷入危机。　　高达、吴立伟、金石三人中断旅游，跟花容一起去当地警局报案。可当地警局和当地黑社会沆瀣一气，狼狈为奸。失望透顶的高达四人被逼无奈，只能组建一支老年敢死队，赶往边境山区舍命营救。四人经过细心部署，在重重包围之下顺利救出花出尘，谁料在乘坐大巴车途径山区之时，竟遭遇不明武装劫持，一车人的生命陷入危机。四位老炮分头行动，一面高达、吴立伟、金石三人与匪徒们展开殊死搏斗，一面逃出去的花容母女向中国大使馆求救，在里应外合的配合下，四人终将所有人质成功拯救。

2024 / 中国大陆

83.03万次播放

24岁的克里斯汀、17岁的埃里克斯，两个人过着毫无交集的生活，其中一人会将他的女友杀害后分尸。到底会是谁？这场冷血谋杀背后的动机是什么？双线结构，镜头对准两个完全平行无交集的生命体，他们面对苦闷的现实却做出了截然不同的选择。

2016 / 其它

79.28万次播放

今作の舞台は、連続ドラマ第2シーズンのラストから1年半後の夏。次女の里美が誕生し、万木家の人々はにぎやかな日常を過ごしていた。真也は異動先から野毛山警察署へ戻ることになったものの、試験で警部に昇任したことで、強行犯チームは気まずい雰囲気に。そんな折に朝顔のもとへ、同時にひき逃げされたとみられる男女の遺体解剖依頼が舞い込み、この出会いが彼女の人生に大きな影響を与えていく。そして物語のラストでは、育児や父の病状に悩む朝顔が家族とともに岩手・陸前高田市を訪れ、娘たちを見つめながらある決断をする。

2022 / 日本

79.03万次播放

冬雪纷飞的安纳托利亚山区，一所与世隔绝的男子寄宿学校座落其中。某日夜里，男孩们在淋浴间过度嬉闹，遭到教官严厉处罚，被迫在零下30度的低温中洗冷水澡。隔天，尤素夫竟发现同房好友开始严重呕吐，陷入昏迷。他赶忙通报师长，却只见大人们不断互踢皮球。随著时间分秒流逝，下山之路的积雪越发深厚，他望著奄奄一息的好友，理智也面临崩溃边缘。 库德族裔新锐导演改编童年亲身经历，场景设置在宛如真实社会缩影的寄宿学校，透过纯真而惊惧的男孩之眼，以晃动不安的镜头控诉官僚杀人的冷酷体制，更尖锐影射陈腐教育思维的世代複制过程。 “施加在我们幼小身体上的控制，将在往后的人生形塑我们的心智。控制孩子，本质上就是控制未来。”──法利·卡拉罕

2021 / 土耳其 罗马尼亚

81.81万次播放

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

1938 / 英国