國際美食指南中的「摘星」餐廳是美食界公認的「天花板」，新一輯《不可能任務》將會走進「廚房戰場」挑戰極限。張馳豪、孔德賢同樣熱愛烹飪，會化身學廚接受名廚們的連串特訓，從磨練中不斷成長，突破自身界限。由烹飪基本功、揀選食材學起，到復刻名廚的招牌菜式、挑戰自創菜式，還會向品酒師、茶藝師取經，全方位了解高水準餐廳的成功準則。終極考驗，兩位「星級」學廚要在名廚們帶領下完成一頓頂級晚宴，博取VIP賓客的認同！

　　干探宝毅在一次侦查的绑票案中，竟连带发现女友永欣横尸现场，连同患有心漏症，突然心脏病发普需要换心来延续生命的绑票案受害人Maggie一同赶往医院抢救，刚好永欣和Maggie都拥有非常罕有的特别血型，永欣的心便移植到Maggie身上。病愈后，Maggie便失去了那次经历的大部份记忆，而内心常有不可理解的奇异影像，且对宝毅有著莫名的好感。同时，外表阴沉的见习心脏科医生牧狄，私底下埋首於频死经历的研究中,更希望能说服Maggie尝试接受催眠，以探索她那段空白记忆的秘密。命案接二连三发生，作案手法跟以往相似，Maggie的心灵感应能够预知事情，普感受到被害者的恐惧与痛苦，追查下，宝毅发现牧狄与自己最相信的法医言竟然牵涉案中，此时Maggie感应到自己会是下一个受害人……

　　韩卿（温茉言 饰）身为情感劝退师，受顾客委托调查其丈夫出轨，成为华京集团董事长冯斯乾（申浩男 饰）的私人助理，被迫卷入一场精心策划的阴谋。两人为寻找真相，从猜忌、试探到携手、互助、坦诚，最终找到婚姻本质，也找到了真我的爱情故事。

　　Follows a straight-laced high school student and her slacker best friend who, after a regrettable first sexual encounter, have 24 hours to hunt down a Plan B pill in America's heartland.

“自从来这里以后，我就不用再背负生活的重担。或许正因如此，我才能真正地全力以赴。”
　　欢迎来到这座位于热带岛屿的宝可梦度假村，新手礼宾员春绘与伙伴可达鸭携手迎客，与前来度假的宝可梦共度一段美好温馨的成长时光。
　　春绘（能年玲奈 配音）已逐渐摆脱新手的青涩，与可达鸭一同接待海 魔狮、小猫怪、伦琴猫、风速狗、龙虾小兵等许多新的宝可梦开心入住。春绘与这群贵宾相处得轻松又愉快，偶尔才有突发状况需要处理。某天，一个名叫肯特（町田启太 配音）的男子出现了，而他似乎是春绘的前男友。他为什么会来 ？他与春绘的关系又会如何发展？除此之外，泰勒的叔叔丹（山路和弘 配音）也带着与他相伴15年的海魔狮来度假，只是他时而露出落寞的神情，好像在烦恼什么事情……

　　本片改编自高木由奈的同名漫画，讲述了在爱上别人的那一刻就从这个世界上消失的河野淳和无法停止相信他就是自己真命天子的主人公长谷部莉乃之间的故事。影片描绘了以直截了当的方式表达“爱”的重要性，两人在生活中一次又一次地相遇。

　　表面上看来，米娅（科洛·塞维尼 Chloë Sevigny 饰）是一名普通女子，但实际上，她是受雇与黑社会老大艾迪（彼得·怀特 Peter Wight 饰）的冷酷杀手。除此之外，米娅还有一个只有她自己知道的秘密，别看她现在样貌完美身段妖娆，可在很久之前，她其实是一个不折不扣的男人。
　　一个名叫瑞恩（乔顿·本尼 Jorden Bennie 饰）的11岁男孩走进了米娅的生活，彻底改变了她的人生轨迹。原来，瑞恩是米娅的儿子，他的母亲，也就是米娅的前女友温蒂（Ethan Griffin 饰）如今身患绝症。就这样，米娅一边要照顾生命垂危的温蒂和年幼的瑞恩，一边要扮演好她“女杀手”的身份，穿越在两个截然不同的世界里，米娅能够应付自如吗？

　　In this unreal walk through the streets of Paris, Marie (Bulle Ogier), a woman convicted of robbing a bank is just out from prison when she runs into Baptiste (Pascale Ogier) a young paranoid needing companionship, and the two team up for awhile. Marie's former boyfriend (Pierre Clementi) supplies them with a strange map of the city, suspicious because he keeps files on political figures that may be somehow linked to the map. A gangster nicknamed "Max" begins to track Marie and the already paranoid Baptiste, causing Marie to examine the map as though it held the clue to which sides of the city were "safe" and which were not. As the two women attempt to outsmart Max and unknown gangsters, they try to figure out the map - a task made all the more difficult by Baptiste's tendency to violent rushes of adrenaline and Marie's overworked imagination (a dragon at the North Bridge is a threat until Baptiste screams him down). Between the dragon and their own demons, Marie and Baptiste face frightening odds against coming out of this misadventure intact. ~ Eleanor Mannikka, Rovi

　　Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.