哈基姆的父母是东非移民，全家居住在蒙特利尔的帕克区。他和他最好的朋友安东尼一起在他叔叔的身边为当地的犯罪集团工作以挣取额外收入。安东尼最终成功劝服了哈基姆，他们为了获得横财开始偷车单干。但他们的这一选择带来了可怕的后果，这迫使哈基姆做出改变他一生的决定，并决定了他将成为什么样的人。

当吉米在他最新的偷的车的后备箱中发现一个神秘的包裹时，他被推入了一个暴力犯罪的黑社会，并与时间赛跑以挽救一个小女孩的生命。

迷失少年通过青少年法律，找回真正自我。

Life in the megalopolis can grind down even the most badass individual. When the city rubs Aki the wrong way one too many times, she hustles her way onto some sweet retro custom motorcycles and gets gone... Tokyo Gone.

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.

一场都市生活的闹剧，一次道德底线的碰触，一出令人捧腹又倍感心酸的演绎，一声无奈地呐喊——《贼》这一部高清作品向我们绘声绘色的讲述了生活在都市底层的无业小青年、痴傻的乞讨者以及善于伪装的小偷之间发生偷窃与被偷窃，侮辱与被侮辱，人性的挣扎与沉沦。当这种小人物式的沉重被用一种活灵活现又不失幽默地口吻讲述出来，给人一种加倍的心灵触动，让人深省......

年轻女企业家徐清晏的豪车被恶邻母子私自开走并损毁。对方拒不认错还倒打一耙，徐清晏凭借完整证据坚决依法维权。最终作恶者受到法律严惩，这一结果不仅维护了她的合法权益，也充分彰显了法律的公正与威严。

土耳其经典犯罪喜剧 IP 回归。以诡计与骗局为生的阿西姆・诺扬团伙，迎来一场野心最大的行动，目标是传说中的卡伦宝藏。一场惊天夺宝计划徐徐铺开，他们既要周旋于冷酷无情的商界对手与步步紧逼的警探之间，又要面对团伙内部的猜忌、背叛与脆弱同盟。在利益与欲望交织的漩涡里，这群老江湖游走在骗局与险境之中，赌上一切追寻传奇宝藏。

女主林沫新买的豪车，被贪心邻居偷偷开走当作婚车，对方还在车内抽烟烫坏真皮座椅，喷洒香槟烧毁了顶级音响。林沫握有完整的监控与行车记录证据，直接报警并聘请律师，提交了完整的证据链。最终偷车的邻居被依法惩处，不仅要倾家荡产赔偿损失，家中新娘也卷款跑路，贪婪无赖的坏人终究自食恶果，林沫用法律武器维护了自身权益，结局十分解气。