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故事发生在一个令人伤心的大城市中，一宗宗黑帮交易、残酷的江湖惨案引出主人公飞虎精英的到来，逐步揭示出江湖中所隐藏的真相。他们带着正义的希望和伤痛，他们分别潜入黑帮中，两人是敌人也是朋友，更是生死之交……最后，两人能否拯救这个城市，能否让它重见天日呢……
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Vivica A. Fox 首次亮相 Bring It On，饰演互联网上最受欢迎的“啦啦小姐姐”啦啦女神。当三届全国冠军“The Rebels”的队长命运（Prosperi）受到一支名为“The Truth”的前卫新队伍的全球啦啦队挑战时，啦啦队女神为来自世界各地的队伍组织了一场虚拟战斗。似乎全世界都想打倒命运和她的团队，他们可能会成功，除非命运能够迎接挑战，放下她的自我，找出她真正的朋友是谁。命运是一位专横、过度自信、痴迷于胜利的啦啦队长，她经常忽视同龄人的意见，包括她最好的朋友威洛。虽然很大程度上以自我为中心，但她确实对“啦啦女神”怀有高度的敬意，这位已退休的啦啦队长曾五次获得冠军，现在主持一个受欢迎的播客。Destiny 是美国拉拉队 The Rebels 的队长，曾多次赢得世界冠军。有一天，在当地一场比赛中表演时，小队的日常工作被“真相”黑客入侵，这是一支神秘的蒙面小队，威胁要废黜他们。命运受到羞辱，逃离了现场，绊倒了一群嘲笑她职业的街舞者。与此同时，由于《真相》的攻击，公众舆论开始反对叛军，导致他们失去成员并在网上受到嘲笑，而世界各地的其他啦啦队也变得更加大胆，试图打破他们的连胜纪录。命运并没有被吓倒，她决定在当地一家餐馆寻找新的（男性）成员，但当尝试失败后，她决定招募前几天遇到的同一个街舞者。当他们拒绝时，叛军打赌，如果他们能在舞蹈比赛中击败街舞者，那么舞者就会加入队伍，他们最终也这么做了。虽然两人相处困难，但命运确实与舞团团长布莱克开始了一段初露端倪的恋情，而布莱克也透露自己是一名涂鸦艺术家。尽管如此，她仍然对训练的效率低下感到沮丧，并通过笔记本电脑上的视频日记发泄了自己的沮丧，在视频日记中她侮辱了自己球队的新成员。在这一切的内讧之中，薇洛与一名街舞者一起想出了一些新的套路，并与她建立了一种浪漫的联系，尽管命运很快就拒绝了这一点，她相信自己是唯一有能力带领叛军取得胜利的人。然而，经过一番自我反省后，命运决定放轻松，做一名思想更加开放的船长。与此同时，真相参加了欢呼女神的节目，并提议举办一场由人民投票选出的全球锦标赛，迫使叛军参加。然而不久之后，命运的咆哮被泄露到网上，整个团队都看到了，导致包括街舞演员在内的许多成员辞职。《命运》最终表明真相是由威洛和叛军中看似愚蠢的成员汉娜一起组建的，以报复她过于严格的领导，而且许多前叛军也加入了这个新小队。威洛站在她最好的朋友一边，表示她的目的只是给命运一个教训，汉娜除此之外还试图摧毁整个小队，从而背叛了她。命运和威洛决定与队中剩余的啦啦队成员一起度过难关，但惊讶地发现包括罗克珊在内的一些前成员回来了，并表示汉娜的行为与命运之前的行为一样。叛军感到更加大胆，甚至设法重新夺回了一些街舞者，他们参加了全球比赛，在决赛中与现已揭开面纱的真相展开竞争，并最终击败了他们。
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Aron，快將三十，剛畢業，缺工作，連找工也由老媽寫CV，唯一成就是有個可愛女友，結果女友背他劈腿，人生至此已走至頹廢盡頭。每次想靜靜哀悼戀情，總被閒人瑣事纏身，面容呆滯，生活失焦，淪為他人世界的路人甲。直至一次酒後胡塗，錯手刷卡買下機票，遠離家鄉布達佩斯的陰霾，才在異國的陽光下重拾節奏。 匈牙利新進導演以平實手法，不以花巧鏡頭，靠著跳脫的敘事節奏及精準的人物呈現看似即興的安排，幽默有趣地用鏡頭捕捉現實社會下的「偽文青」心底事。這部魅力過人的清新首作，在各大歐洲電影節大放異彩，成為不少影評人的特別推介。 2014 意大利都靈電影節-評審團特別獎 2014 法國南特國際電影節
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《热力四射2》是2010年6月上映的美国动作电影，Chris Stokes执导，布兰达·宋主演。《热力四射2》讲述了 舞蹈无国界，来自世界各地的舞蹈高手齐聚于底特律一较高下， 即将在底特律展开的国际舞蹈大赛，聚集了各路人马参赛，不论是底特律当地、巴西和德国的顶尖舞蹈高手都兴致勃勃地前来挑战。加国出品的Yougotserved第二部，7年之后原班人马一个不剩，choreography加入Parkour，主线是美国、德国，巴西的三个crew，剧情老套，choreography味道比较原始街头。PS.LilC出演，同时亦为assistchoreography。请随我进入街舞的世界，你将看到他们穿过城市和乡村，在街角，在小巷，在操场、在那些黑暗的角落或者在室内的大厅里，他们用舞蹈挥洒着汗水。人们为他们喜爱的街舞者聚集起来，为他们欢呼为他们尖叫，而另一群街舞者也被他们的崇拜者们欢呼簇拥着，疯狂的人群为各自支持的街舞者们，期待他们一场街舞火热大赛的开始。这些街舞者有完全出于自然的的天才，他们藐视地心引率，他们跟随着自己的街巷音乐有节奏的旋转.三支舞蹈队准备在底特律举行的国际 Beat the World 比赛中展开对决。在成为世界冠军的最后对决中，毕生的希望、梦想甚至生命都岌岌可危。
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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.
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Kuad and Kai are siblings who are apart from one another since their childhood. Kuad is brought up in a slum and supports his life by playing gambling whereas Kai is with his grandmother. When an accident causes grandmother to be in a coma and need more money for the cure, Kai begins searching for his brother Kuad. Things turn upside down when the siblings reunite to take their chance in a gambling house to get the money for grandmother.