少女金伯莉（A.J. Cook 饰）与好友驱车去郊外游玩，途中她预见一场严重的连环交通事故，而自己和朋友也将命丧其中。猛然惊醒的金伯莉将车横在路中央，阻挡了后面的车辆。然而车祸仍然发生，金伯莉侥幸逃过一劫，另有六人从灾难中逃生。这奇异的经历让众人想起180号航班幸存者的故事。　　正如他们预料的那样，死神不会放过任何一个逃跑者。这些幸存者按照他们本该在车祸中死去的顺序一个接一个在各种巧合和意外中死去，金伯莉成为最后的生者。她得知180航班幸存者克莉尔（Ali Larter 饰）仍然健在，她希望从克莉尔那里得到逃脱死神魔爪的办法……

尼克（克林特·伊斯特伍德 Clint Eastwood 饰）是一名警察，负责侦破汽车团伙盗窃工作，可是，在这个岗位上这么久了，尼克连一宗案件都没有破获过，这让他在同事们面前有些抬不起头来。一次偶然中，尼克发现一个名叫飓风（劳尔·胡里亚 Raul Julia 饰）的男人有可能是汽车盗窃团伙背后的主使，这让尼克来了精神，这或许是他立功的唯一一次机会了。　　就这样，尼克和搭档开始了对于案件的追踪，哪知道在交锋中，尼克的搭档不幸殉职了，这宗案件因为牵扯到了杀人事件，而被归类成为了谋杀案，尼克失去了案件的调查权，但这个固执的男人，又怎么会让到嘴边的鱼白白溜走呢。

讲述了三位老人为了一句承诺，走上了赴异地博物馆送手稿的路程，一路艰辛、意外频出，但仍然为故友了却了遗愿的故事。　　为了完成好友的临终遗愿，三个耄耋之年的老人踏上了一场有趣的旅程…

在北卡罗来纳州偏远的树林里，一个名叫所罗门的盲人少年独自生活，完全与世隔绝。 尽管身体有缺陷，所罗门仍然能够通过在他的腰部系一根长绳子来导航他的周围环境，该绳子被拴在他居住的小屋上。 所罗门只带着他的绳索，靠捕鱼、觅食和捕捉小动物作为食物而生存。 另一个激励他的是包含三个神秘规则的录音信息： 第一个规则：当你狩猎或拾荒时，为两个事物而做 —— 一是为了森林，一是为你。第二个规则：当你的意志几乎消失，想放弃时，在唱我们的歌中找到安慰。第三条规则：你永远不能放开绳子。

青年男子海克特来到墨西哥城，希望度过两天的放纵周末。他与死党约好拍艺术裸照，结果却被死党放了鸽子。海克特独自鼓起勇气，辗转在不同的声色场所，对所有艳遇一概说Yes，在放浪形骸中迎来一波又一波的高潮...

随着她母亲的去世和痛苦的离婚，安妮和她的女儿搬回她童年的家。起初一切似乎很好，但悲剧再次发生时，在一个雾蒙蒙的晚上，艾米丽失踪了从她的卧室。安妮声称她从黑暗中看到了什么东西，并带走了艾米丽……一个生物。

“The Chosen Ones” turns on 15-year-old, Ulises, who is being groomed by his father to enamor young girls, tricking them into prostitution. But he falls in love with Sofia, his first victim, who’s just 14. To save her, his father demands he seduces a second girl, entangling Ulises in the world of juvenile prostitution that he was trying to avoid, from which escape come at a very high price.

Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with hisher partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

诺拉（Mira Bartuschek 饰）是一个普通的不能再普通的女孩，似乎所有的浪漫故事都和她无缘。在广告公司里，诺拉只是一个名不见经传的小小实习生，职业道路黯淡无光。一天，诺拉的表姐艾米丽突然拜访，希望能够在诺拉家接住，艾米丽的职业非常的奇怪，她是一个职业约会员，她的到来替诺拉打开了新世界的大门。　　在一场重要的约会前夕，艾米丽竟然因为食物中毒而卧床不起，无奈之下，她只得委托诺拉代替自己去约会。这次的约会对象是一个名叫马克思（亚历山大·库昂 Alexander Khuon 饰）的英俊富豪，让诺拉没有想到的是，马克思竟然对自己一见钟情。

Four tragicomic interconnected stories about how devoted Muslim men and women are trying to manage their love life and desires without breaking any religious rules.