一个孤岛上的秘密实验室,一群富家子弟的庆生派对,一位因爱生妒的男朋友，在发现了岛上的秘密生物实验,在巨型蜈蚣追猎下,他们该如何逃出生天，在孤岛上与巨型蜈蚣拼命相搏,靠着机智胆量，年轻人们是否能在巨型蜈蚣的口下存活?，冲天的火光,遍地的残砖碎瓦，勇敢挺身的年轻人,是否能战胜变异的巨型蜈蚣,能否看到明日曙光，他们究竟f能不能活着离开这座恐怖的小岛?
On a romantic getaway to Iceland, a young American couple wake up one morning to discover every person on earth has disappeared. Their struggle to survive and to reconcile the mysterious event lead them to reconsider everything they know about themselves and the world.
'In Vitro' is an otherworldly rumination on memory, history, place and identity. Set in Bethlehem decades after an ecological-disaster, the dying founder of a subterranean orchard is engaged in a dialogue with her young successor, who was born underground and has never seen the town she's destined to replant and repopulate. Inherited trauma, exile and collective memory are central themes.
60年代的日本人似乎对这个大黑猩猩情有独钟，在玩遍了各种哥斯拉的故事之后，依然将金刚的神奇遭遇不停地向人们展示、炫耀。光看他的故事就能让人吓一跳：科学家制造出了一个机械金刚，用来在北极挖掘神秘的X元素，与此同时邪恶的博士绑架了真正的金刚，令其干同样的活，因此，机械金刚与原形之间的连番恶斗就在所难免了。
南海のゾルゲル島を舞台にゴジラの息子ミニラが初登場し、怪獣カマキラスやクモンガと対決する。この作品から特技監督が名匠?円谷英二から弟子の有島貞昌にバトン?タッチされた。ゴジラとミニラの親子の愛情がしっかり描き込まれている。
康纳思（安东尼·特雷奇·克里斯 Anthony 'Treach' Criss 饰）曾经是就职于CIA的超级特工，拥有强健的身体和丰富的经验。一次，在执行拯救总统夫人的任务时，康纳思遭遇了意外，导致了他双目失明，就这样，康纳思不得不和他热衷的特工事业说再见了。 一晃眼三年过去，康纳思曾经的上级再度找到了他，不仅治好了他的眼睛，还令康纳思神奇的获得了夜视的特殊能力。凭借着这一能力，康纳思完美的完成了上司派给他的新任务，可是之后，康纳思不仅再度失明，而且还遭到了国家安全局的追捕。原来，康纳思的上司早就遭到了停职处分，为了报复CIA，他哄骗康纳思偷得了毒气炸弹。
This episode finds the Doctor (Jodie Whittaker), Yaz (Mandip Gill) and Dan (John Bishop) in 19th century China, where a small coastal village is under threat – from both the fearsome pirate queen Madame Ching (Crystal Yu) and a monstrous alien force which she unwittingly unleashes. Will the Doctor, Yaz and Dan emerge from this swashbuckling battle with the Sea Devils to save the planet?
故事讲述未来世界被恐怖的变异怪兽占领，幸存者被分割成小型部落，艰难地为生存而战。其中一个部落中的几个年轻人逃离了怪兽们的一次围攻，因而发现了外面有更多的人类生存，虽然他们过得其实也挺惨。
十八世纪初，制图家格林在从欧洲向东方的科考旅途上。在翻越喀尔巴阡山脉的过程中，他迷失在森林深处一座被遗弃的村庄——只有偶然的意志和浓雾能将他带到这个被诅咒的地方。在这里生活的人不像任何他在旅途上曾经见过的人。这些通过深深的沟渠将自己与世界隔绝的人们，天真地相信这样便能摆脱不纯净，却不明白腐朽早已深入他们的灵魂，只是在等待时机爆发。这位唯物主义的科学家在梦里也不会预料到，在这里迎接他的是魔鬼的忠实仆人。
90年代之前风格的航空冒险电影，有许多特定时代风味的壮观画面。
“毕德曼慧星”正朝着地球飞奔而来，给人类致命一击。当局紧急行动，研究出一个最佳方案——由宇航员坦纳（罗伯特·杜瓦尔 Robert Duvall饰）驾驶“弥赛号”飞船飞往慧星，把预先准备好的核弹放置到慧星上面引爆，以令它化成碎片或是改变轨道。坦纳英勇地完成了任务，却发现并没有取得预期效果。慧星碎成了一大一小两部分，向地球步步逼近。 当局迅速采取最后的行动，用“诺亚方舟”计划保住包括人类在内的一些地球物种。这是一个秘密的地下庇护所，只有少数的人可以在这里避开大劫难，等灾难散尽后方重建世界。较小的那部分慧星已经撞向地球，引发山崩地裂，一片世界末日的景象。而跟随其后的大慧星给地球带来的毁灭程度，将远远超乎人们想象，力挽狂澜的人类进入了倒数时刻。
A quantum physicist develops a machine that creates a tunnel to a subatomic universe. In his quest to prove the machine's efficacy, he inadvertently discovers a radical treatment for cancer in lab rats. He now seeks human volunteers.
Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey. In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.
