Filmed live on stage at the Pantages Theatre in Hollywood, CA, this not-to-be-missed high energy show stars Original Broadway cast members Jeremy Jordan as Jack Kelly, Kara Lindsay as Katherine, Ben Fankhauser as Davey and Andrew Keenan-Bolger as Crutchie. They're joined by North American Tour stars Steve Blanchard as Joseph Pulitzer, and Aisha de Haas as Medda Larkin, and Ethan Steiner as Les along with members of both the Broadway and North American Tour ensembles, filling the stage with more newsies and more dancing than ever before. Set in New York City at the turn of the century and based on a true story, Newsies is the rousing tale of Jack Kelly, a charismatic newsboy and leader of a ragged band of teenaged 'newsies,' who dreams only of a better life far from the hardship of the streets. But when publishing titans Joseph Pulitzer and William Randolph Hearst raise distribution prices at the newsboys' expense, Jack finds a cause to fight for and rallies newsies from across the city to strike and take a stand for what's right.

Having weathered marriage pressures from family and friends in the first movie of the series, Efsun is now with the man of her dreams, Sinan. But the complications facing her love life don't get any less. As if her own chaotic family wasn't enough, she now has to contend with Sinan's - his grandmother, Cavide, in particular - and things quickly spin out of control. Will she make it through hell and high water to fulfill her dream of a peaceful life with Sinan Does she really want the wedding everyone else has decided on for her Written by BKM(httpwww.imdb.comsearchtitleplot_author=BKM view=simple sort=alpha ref_=tt_stry_pl)

23世纪中叶，地球已进入全面崩溃的阶段，战争和传染病让这颗原本美丽的蓝色星球破烂不堪，人类被迫离开赖以生存的家园，远赴外太空寻找新的栖息地。凭借TSA先进的技术，木卫五成为充满希望的新兴乐土。在此之后，大批地球人乘坐飞船前往木卫五，地球逐渐被人遗忘。　　然而就在此时，不断有人起来反抗，声称要推翻TSA利用机器对人类的麻醉和统治，并据此不断向空间站发起恐怖袭击。美丽的劳拉·波特曼博士（Anna-Katharina Schwabroh 饰）随一艘货船前去空间站看望亲人。在长达4个月的旅途中，大部分人需进入睡眠状态。劳拉担任了值班的任务，然而在这静寂的飞船里，似乎有其他人在暗中窥视着她。一桩桩阴谋渐渐浮出水面……

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.

某个纪录片摄制组正在调查一个系列残酷的杀戮，被人们称为“黑色水谋杀”。当他们深入了解这个故事后，他们偶然发现一个可怕的秘密。而这一切都没有人想到他们会陷入什么危机，不知道他们将不可能生还。

继承克罗地亚小岛上的一座房子后，这名女子心血来潮地踏上了一段旅行，不仅重获生活的喜悦，也再次打开了爱情之门。

一个年轻的窃贼为了躲避黑帮的追捕躲进了一栋房子，房子的屋主是一个身患重病的女孩。两人在相处中产生了感情，男孩一直鼓励女孩要勇敢活下去，没有料到的是男孩不知自己已经身患癌症，会比女孩更早离去。

《泰坦尼克号2》是2010年Global Asylum, The出品的一部美国电影。影片由Shane Van Dyke执导，Shane Van Dyke、Marie Westbrook等联合主演。讲述了在泰坦尼克号事件100周年之际，海登制造了泰坦尼克2号，为了赶100周年的纪念日，在船几乎没进行检测的情况就下海首航而导致的悲剧故事。在首次航行 100 周年之际，一艘被命名为“泰坦尼克号 2”的现代豪华客轮沿着同名航线行驶。但是，当海啸将冰山抛向新船的航线时，乘客和船员必须奋力避免类似的命运。《泰坦尼克号2》讲述泰坦尼克号沉没之后，泰坦尼克2号再次起航前往美国，在北大西洋遭遇因全球变暖融化的冰川，冰川崩塌带来的巨大海浪给船只带来很大安全隐患，漂浮而来的冰山将泰坦尼克号2从中间撞断，船只起火，船上的乘客开始了逃亡，此次带足了救生船，但是在巨大海浪冲击下，救生船并不安全，真正安全的是呆在船上等待救援。 某公司又制造了一艘巨型客轮泰坦尼克号II，大家在船上载歌载舞。艾米（海登女友）和凯利做为船上的护士也登上了泰坦尼克2号。因全球温度上升，冰川正在迅速融化导致用进退应矩 冰山崩裂从而形成海啸。海岸警卫队詹姆斯（布鲁斯·戴维森饰）上尉（艾米的父亲）接到帕特森博士电话赶到格陵兰岛冰川上时，正值冰川开始崩裂，二人急急登上直升机并发布了海啸警报。而此时艾米（女主）的父亲詹姆斯（科学家）在北大西洋，金·帕特森博士发现冰川正在融化并告诉他，需要各方的警备。 其后，由于冰崩，掉落到海中的巨型冰块引发了巨大的海啸，詹姆斯十分担心在泰坦尼克号II上作护士的女儿的安全。泰坦尼克2号接到警报，朝和海啸相反方向驶去。但途中一个螺旋桨坏了，船长担心剩下的螺旋桨也会坏掉，便停了船。这时海啸夹杂着各种冰山向泰坦尼克号撞来。虽然船快速转舵，并启动螺旋桨，但冰山仍撞上了船的中部。船瞬间进水，但是30分钟以后才彻底沉没。 艾米的男友就是造船公司的老板海登，平时十分风流，到最后和艾米共患难，在已经快被爆成两截的船上进行自救，最后把仅有的一套带氧气瓶的潜水服让给了艾米，艾米在海登的坚持下穿上潜水衣，两个人一起躲在放置潜水服的柜子里。第二次冰崩再次来袭，他们的房间开始进水，海登坚持不愿与艾米分享氧气害怕艾米没有机会出去而自己迟早都会冻死。在泰坦尼克号II完全沉没后，詹姆斯找到艾米并将她和海登救出，可是海登最终没有活过来。 [1]

没有人出生在拉斯维加斯，这里只是沙漠中一个奇怪的地方，有些人很幸运留在了这里，有人则很不幸，也留在了这里，这里被人们称为“罪恶之城”。Kim Davis（Shayla Beesley 饰）是一个迷失了自我的孤独女孩儿，没有人关注她，除了Ray Easler（Michael Madsen 饰）。Ray Easler是拉斯维加斯城中富有的人，他拥有很酷的房子和车子，有天，他邀请Kim Davis去他的家中做客……

A group of guys living in a Brooklyn brownstone find their way through the harsh realities of life as they enter into their 30's.