天堂鸟

　　某广告公司小职员太田喜一郎（妻夫木聪 饰）虽然充满热情，但是无论职场还是日常的人际交往都饱受挫折，偏偏他的上司大泷一郎（丰川悦司 饰）又是自私自利、推诿塞责的人，以致于太田被他耍的团团转。这一天，即将前往圣莫尼卡广告节担当评委的大泷遇到棘手的难题，某金主客户要求自家拍的无聊广告必须在广告界上获奖，大泷转嫁危机，哄骗太田替自己去海外当评委。临危受命的傻小子先跟随资料室的镜先生（Lily Franky 饰）学习评委技巧，之后拜托精英女同事阿光（北村景子 饰）假扮老婆随行。在海外他们不仅遭遇强劲的对手木泽遥（铃木京香 饰），还必须应对评委们千奇百怪的小伎俩。
　　过于驽钝迂直的太田能否顺利完成不可能的任务呢？

　　本片在叙事结构上不同于常规的青春爱情片，平行讲述了三对不同年代情侣的爱情故事，而一间失恋杂货铺将看似毫无交集的三代人联系在了一起，在时空转换和穿插叙事中，展现了文革以来各代国民的恋爱风貌。

在得知她们的妹妹逃脱了早些时候的绑架企图，并杀死了她们的父母后，两个疏远的姐妹必须联手从一群嗜血的吸血鬼手中救出她。

　　In an attempt to rectify their criminal past, a once successful Hollywood starlet, turn prostitute, and a petty, misogynistic thief, set out together to solve a high profile child abduction case in San Francisco.

　　电影根据同名游戏改编，讲述了动荡的东汉末年，汉室摇摇欲坠，董卓入京霸占朝野，引起天下动荡，身怀绝世武艺的曹操、吕布、刘备、关羽、张飞等各路英雄豪杰纷纷崛起，一场群雄逐鹿的大混战正式拉开序幕。在乱世中，到底谁才是真正的无双英雄……

　　The story revolves around Cathy, a determined 40-year-old sous-chef, who dreams of opening her own gourmet restaurant. As she faces financial difficulties, Cathy takes a job in the cafeteria of a shelter for young migrants. While she hates her new position, Cathy’s skills and passion for cuisine start to change the kids’ lives.

　　由王晶执导的重量级巨制《大上海》将在12月贺岁档高调热映。影片集合了周润发、黄晓明、吴镇宇、洪金宝等一众名演员，两代许文强齐聚《大上海》，再现上海滩传奇。本片记录了《大上海》的拍摄过程，各种台前幕后精彩花絮不容错过。这部黑帮喜剧片将于2012年12月22日霸气上演！

　　来着YouTube上面的恶搞大神们这次再次倾巢而出，各种爆笑恶搞，挑战各种街头恶搞，一场场精心策划的恶搞方案令不少路人哭笑不得...

　　鲍伯（成龙 饰）与独自带着三个孩子的女邻居吉莉安相恋已经三个月了，然而三个小鬼并不怎么喜欢这个窝囊、乏味，如同机器人般一程不变的钢笔商，但鲍伯其实是一名即将退休的秘密特工。吉莉安因故外出，鲍伯决定由他来照顾孩子，一个大男人要应付三个古灵精怪的小孩子已经足够让他头疼，而孩子们无意间下载了一伙罪犯的细菌配方引来了坏人的追杀，此时，中情局内部也有人想得到配方。在保护孩子们的过程中，鲍伯的身份爆光，吉莉安为了保护孩子们和他分手。为了打击犯罪，为了保护孩子们，鲍伯必须重新出马……
　　本片是成龙继《尖峰时刻》系列后最新一部好莱坞作品。

　　The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.