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備注：已完結(jié)
類型：喜劇片
主演：羅伯特·韋伯 大衛(wèi)·米切爾 薩拉·哈德蘭 PaulMarkElliot
導(dǎo)演：AndrewO'Connor
語言：英語
年代：未知
簡介：暫無簡介
備注：已完結(jié)
類型：劇情片
主演：CarolineDhavernas AmySloan VlastaVr
導(dǎo)演：ManonBriand
語言：英語
年代：未知
簡介：該影片基于Marilyn Bell（Caroline Dhavernas飾演）的真實故事改編。Marilyn Bell當(dāng)時16歲，是一名游泳健將，她正嘗試成為第一個游泳橫渡安大略湖的人。但當(dāng)時美國還有位頂級游泳選手Florence Chadwick，與她一同在這場特殊的游泳馬拉松中競爭第一。因為Florence Chadwick身經(jīng)百戰(zhàn)，所以大部分人都認(rèn)為她會獲取最終的勝利。但出乎意料的是，由于Florence Chadwick對途中艱險程度的輕視，導(dǎo)致了她退出了比賽，而Marilyn Bell堅持到了最后，最終成為了橫渡安大略湖第一人。
備注：已完結(jié)
類型：喜劇片
主演：Nantawooti Boonrapsap Sasisa Jindam
導(dǎo)演：Krissanapong Rachata
語言：其它
年代：未知
簡介：Lek老師（Arun Phawilai飾）是一名泰拳敎練，一直敎導(dǎo)著一班小孩子泰拳以自我防衛(wèi)，他們是Wuth（Nuttawuth Boonrapsap飾）、Catt（Sanisa Chindamanee飾）及Pong（Paethaiy Wongkumlao飾）。他們3個人必須照顧擁有心疾的Wun（Darun Tantivichitvej飾），Wuth的弟弟?！ ∫驗閃un突然心臟病發(fā)而必須進行緊急的心臟轉(zhuǎn)移手術(shù)，所以他們來到了一個被國際恐怖組織首領(lǐng)Peda（Johnny Ngian）所控制的醫(yī)院?！ o可避免地，他們必須捲入這場醫(yī)院的嚴(yán)峻考驗，英勇小孩及殘忍恐懼份子之間的激烈打鬥就在這里發(fā)生……
備注：已完結(jié)
類型：劇情片
主演：魯?shù)婪颉ね邆惖僦Z Rex Cherryman 亞瑟·霍伊特 澤菲·蒂爾
導(dǎo)演：雷·C·斯莫伍德
語言：英語
年代：未知
簡介：阿爾方斯妮（葛麗泰·嘉寶 Greta Garbo 飾）本是一位出生在偏僻小村莊里的窮苦姑娘，被貪婪的父親賣給了商人，之后一路輾轉(zhuǎn)顛沛流離來到了繁華的大都市巴黎。憑借著迷人的美貌和過人的智慧，阿爾方斯妮一舉成為了巴黎上流社交圈內(nèi)的交際花，整日生活在荼蘼的燈紅酒綠之中，人們送給了她“茶花女”的美譽。紙醉金迷的生活迅速的消耗了阿爾方斯妮的健康，使她患上了肺病，善良的公爵因為阿爾方斯妮酷似她不久之前去世的女兒，而對她伸出了援手。 一次偶然中，阿爾方斯妮邂逅了作家小仲馬（羅伯特·泰勒 Robert Taylor 飾），情不自禁的墜入了情網(wǎng)。然而，兩人的經(jīng)歷和身份懸殊實在巨大，這段感情將注定不會有一個圓滿的結(jié)局。
備注：已完結(jié)
類型：劇情片
主演：Jack Noseworthy Ashley C. Williams
導(dǎo)演：Matthew A. Brown
語言：英語
年代：未知
簡介：影片圍繞朱莉婭·西姆斯，因為殘酷的創(chuàng)傷而落入一種非常規(guī)的治療來恢復(fù)自己。
備注：已完結(jié)
類型：劇情片
主演：Anna Neagle Anton Walbrook C. Aubre
語言：英語
年代：未知
簡介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
