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米其林餐厅如日中天的当红大厨亚当·琼斯（布莱德利·库珀 Bradley Cooper 饰）因浪荡度日，千寻毁了前程。然而受挫的他深信天分并未衰减，千寻于是毅然回到伦敦，卷土重来，找来一群年轻厨师，开一家史无前例的超级餐厅重振雄风。
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米其林餐厅如日中天的当红大厨亚当·琼斯（布莱德利·库珀 Bradley Cooper 饰）因浪荡度日，千寻毁了前程。然而受挫的他深信天分并未衰减，千寻于是毅然回到伦敦，卷土重来，找来一群年轻厨师，开一家史无前例的超级餐厅重振雄风。
回复 :爱丽丝（邦尼·亨特 Bonnie Hunt 饰）和乔治（查尔斯·格罗丁 Charles Grodin 饰）带着三个孩子瑞思（尼科洛·汤姆 Nicholle Tom 饰），泰德（Christopher Castile 饰）与艾米丽（Sarah Rose Karr 饰）住在城郊的大房子里，生活过得平静而又幸福，直到一天，一只可怜又可爱的流浪狗出现在了纽顿家门口。在三个孩子的苦苦恳求下，小狗成为了纽顿家新的一员，取名贝多芬。时间流逝，长大的不仅仅是纽顿家的三个孩子，还有贝多芬，在短短几个月的时间里，原本娇小可爱的贝多芬已然成为了一只庞然大物，在不断制造麻烦的同时，贝多芬也为纽顿一家带来了深深的快乐。贝多芬的存在吸引了兽医瓦尼克（迪恩·琼斯 Dean Jones 饰）的注意，邪恶的医生开始想尽千方百计，企图将贝多芬据为己有。
回复 :改编自天涯社区原创贴《心理师甄新建》，前传为《心理师之灭门惨案》甄新建是一名精通心理学的催眠师，都市里接连发生了几起离奇杀人案：外围女与人偷情时突然刺杀对方，司机开车撞向路人，快递小哥派送时突然殴打客人……这些嫌疑人都是接到一个电话或微信聊天后失去意识，发动攻击，清醒后完全不记得犯罪经过，且嫌疑人与被害人并不认识。警方查不到任何线索，进而求助心理师，甄新建推断他们被催眠了。古灵精怪的少女苗淼是一名电脑高手、吵着闹着要一起破案。警方通过音频发射服务器和签名找到了黑客阿强。原来是一位黑衣人让他设计的服务器，并向他购买了伪基站发射器。一个借助犯罪音频想催眠控制城市的“都市末日”计划浮出水面。
回复 :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.
