女孩梦三十

　　房冬和麦子为购买婚房，结识了混迹街头的三伏。经过讨价还价，他们以低于市场半价的价格，买下三伏手中的房子。还没来得及庆祝，藏匿在天花板上的一千万元现金砸落在房冬头顶……面对巨额现金，众人态度各不相同。啼笑皆非，究竟是飞来横财还是飞来横祸？

　　泼辣刁蛮的乡下妹何婉蓉因为拆迁的事，认识了大公子刘仲邦，刘仲邦对何婉蓉渐生爱意，一心想把她变成淑女娶入家门，并委托下属周显云去培训何婉蓉，谁知他们二人却萌发了爱意……

　　A man foils an attempted murder, then flees the crew of would-be killers along with their intended target as a woman he's just met tries to find him.

　　黄伯虎（陈浩民 饰）、刘浩南（何浩文 饰）和排骨（林子聪 饰）是青梅竹马的玩伴，彼此之间感情十分要好。他们共同喜欢一部名为《唐伯虎点秋香》的经典电影，时时拿出来重温。长大之后，三人走向了不同的道路，黄伯虎成为了警探，刘浩南是泊车小弟，而排骨则成为了发明家。
　　一次偶然中，排骨用自己发明的时光机做实验，竟然在误打误撞之中将自己和两个兄弟欢送到了《唐伯虎点秋香》中的世界里，在那里，他们遇见了祝枝山（陈百祥 饰）。祝枝山告诉三人，这个世界里的唐伯虎早已经跑路了，于是黄伯虎决定代替唐伯虎去华府应聘。

　　美丽的欧洲公主前往美国纽约，寻找到她六年前爱上的报纸专栏作家。在豪华的纽约酒店，她被一位善良的服务员误认为是女仆。酒店的行李员在遇到这名欧洲公主后也开始忽视他的女朋友。

　　拉杰（阿克谢·库玛尔 Akshay Kumar 饰）是一名替身演员，在一场婚礼中，他结识了名为辛姆丽塔（卡琳娜·卡普尔 Kareena Kapoor 饰）的外科医生，虽然两人的爱情观出奇的一致，那就是不相信这个世界上有真爱存在，但他们的个性实在是大相径庭，每一次见面都惹出一连串的误会和麻烦。
　　某日，拉杰在工作中受了伤，而治疗他的主治医生恰恰就是辛姆丽塔，而在手术的过程中，辛姆丽塔竟然将手表挂坠落在了拉杰的肚子里。无奈之下，辛姆丽塔只得假装接近拉杰，向他大献殷勤，以掩饰自己的失物。在此过程中，两人竟然假戏真做，彼此之间产生了真挚的感情，成就了一段佳话良缘。

　　如小熊从冬眠中醒来，我已开始爱上这样的一个你。」在图书馆里，Hyun Choi (Bae Du Na)发现书中留下这样的一句话，再看另一本书，也是冩著同一句话。到底是谁留下的字？不知不觉间，这句话已扣著Hyun Choi的心弦，她要找出那个静静留低这些话的人…… Hyun Choi是普通朝九晚五办公室上班一族，过去经常因为性格太倔强，多次遭男友们抛弃。当她决定要找出那个神秘留话人的时候，原来真正的爱情已在那一刻发生。 Yong Lee首次执导之作《Do you like spring bear?》，由Bae Du-na及前身为模特儿的Kim Nam-jin主演，清新演绎一段神秘浪漫的现代爱情。

　　自认为帅哥二人组的载弼（李星民 饰）和尚九（李熙峻 饰）搬到某小镇的第一天，就被崔所长（朴智焕 饰）、南巡警（李奎炯 饰）列为特别监视对象，但载弼和尚九光是因为能住在梦想中的欧风建筑就感到很幸福。然而，当他们救了掉进水里的美娜（孔升妍 饰）时，却被误认为绑匪。后来，以来寻找美娜的不速之客们为开端，被封印在地下室的恶灵觉醒，黑暗气息开始笼罩整个家……

　　本片以轻松的风格，描述60年代英国作家Joe Orton璀璨而短暂的一生。这名出身寒微的穷小子，以蔑视一切既定规律的作风，摇身一变成新浪潮文化红人，可惜一段不伦之恋，却令这个神话终结

　　以泰州市公安局海陵分局城中派出所为原型，故事讲述刚从警校毕业的张晓鸥分配到城中派出所做片儿警，被安排给社区修路和走访4000多户居民，并在所长的帮助下克服了自身问题毛病，从而成长为一名真的社区民警。

　　在亚当（阿什顿•库奇 Ashton Kutcher 饰）的成长经历中，艾玛（娜塔丽•波特曼 Natalie Portman 饰）总是时不时的出现，所以两个人可以算是朋友。一次，亚当探望自己明星父亲时发现，父亲居然和自己的前女友同居了，这让亚当无论如何也不能接受，在遭遇情感的重创之后，亚当决定要随便找一个女性朋友上床发泻抑郁。宿醉的亚当醒来之后，发现自己居然裸着身体在艾玛家里，在达成“只谈性不谈爱”的协议之后，两人便开始时不时的幽会。随着时间的推移，亚当发现自己似乎对身边这个特立独行的女孩动了心，但是艾玛却表示不能接受亚当的爱意，所以他们最终决定结束这种关系。但是，分手之后二人才发现，他们早已习惯了彼此……

　　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 his/her 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...