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

　　The volatile intersections of contemporary Moscow and the intimate lives of five people.

作为一群野蛮人的首领，塞瓦斯蒂安·本图拉，外号"毒液"，多年来一直在亚马逊屠杀西班牙国王的驻军。当这位美洲最无情的叛徒最终被抓获时，国王提出了一个令众人惊讶的提议：让"毒液"凭借他的傲慢和无畏来训练驻军。与此同时，警长被判处死刑，并等待执行。他知道贡萨洛永远不会原谅他，因为他杀死了贡萨洛的妻子。尽管如此，他还是决定给他的弟弟写一封信；侯爵夫人不愿意接受埃尔南将被处死的事实，并将尽一切努力拯救他。玛尔格丽塔摆脱了她在前几集里的穿着习惯，开始了新生活成为王后的裁缝师。也就在那时，她和贡萨洛的感情更近了一步。在这对主角被爱滋润的时候，镇上将经历巨大的变化，他们最亲爱的一位乡亲的意外死亡将使他们陷入深深的悲伤之中。

尼克整天无所事事，只醉心于足球，女友为此与他分手。为了挽回感情，尼克找了一份足球教练的工作。一开始，他并不十分上心，但随着与这些男孩女孩的接触，他逐渐爱上这份工作，尽心尽力教孩子们踢球。在训练中，他发现了一个很有天赋的男孩赫克特，于是他尽其所能地帮助他。因为家庭原因，赫克特要离开球队，尼克为了让他继续踢球，雇佣他做助教，然而这一行为不仅引起赫克特父亲的不满，球队也因此将尼克开除。另一边，尼克的新女友无意中撞见尼克与前女友的亲密行为，与之分手......

When the President learns that domestic terrorists have skyjacked the passenger jet her brother is flying...

雷维尔是名医生，他的妻子被杀害了，在葬礼上他遇到了负责侦探这个案件的警官，他追问警官何时破案。然后这个凶杀案最后却变成了没有线索、没有凶手的无人问津的案子，没人再管。雷维尔思念妻子也更想弄明白妻子的死因。一次尸检，他发现了藏在死者身上的一枚钥匙，这个死者叫乔纳森，死于自杀。他凭着这把钥匙，追寻一路，发现了很多的秘密，也发现了和妻子被杀案有关的线索。这时乔纳森的女儿出现了，她为了探寻父亲的死因也和雷维尔一起开始侦查，经过了很多紧张、扣人心弦的经历之后，雷维尔发现了惊人的秘密，原来乔纳森不是自杀，而是被他的女儿杀害的。当乔纳森的女儿知道雷维尔已经察觉时，便想要杀了雷维尔，却被雷维尔杀死。雷维尔进了监牢，再次遇到侦探妻子案件的警官，一切像是设计好的局，雷维尔落入圈套。

面对岁月挑战的老猎手，和自己收养的狐狸一起，彼此都成全了彼此的追逐。没有任何一部描写人与动物关系的影片具有如此的震撼力。

赌场上人尽皆知的千手大哥泰有得力手下徐强及段志勇， 一次赌局中，两人助泰骗去彪叔巨款，并将部份据为己有,从此种下祸根。.少女Ice Chan误会勇为泰之子，为向泰报杀父之仇，借意亲近勇，勇以为有艳遇，当年陈父与泰乃沙煲兄弟，因一次于赌局中失手，泰竟杀陈父以求自保。Ice避至美国,练得一副好身手，是次返港一心对付泰，勇经常与Ice来往，加上强欲移民加国,泰不满，知不可再信赖二人，泰告知彪叔，两人合作除去勇及强，强在途中被车撞至重伤，勇则被俘及用刑，伤重不治，勇死前着Ice将一录影带交予强，再交予警方,以将泰及彪绳之于法,过程历尽惊险，彪与泰反目，Ice等伺机击倒泰，警方及时赶至，将彪叔一班恶徒拘捕归案，最后,强要移民，并请Ice路过加国时，大家欢叙一番。

结束了破败的婚姻，美丽而怅然的女子玛丽·纪（Rachelle Lefevre 饰）独自搬入一处有着半个多世纪历史的老旧公寓。入住没多久，她便接到一同陌生来电。对方是个叫罗丝（Lorna Raver 饰）的女人，她在找她的男人。玛丽起初并未在意，可是罗丝反复来电，令她不胜其扰，而且她在偶然的情况下发现，这可能是一通穿越了时空的电话。电话线的另一头，罗丝是一名生活在20世纪70年代末的不幸女子。两个女人有了短暂的深入交流，谁知玛丽一句玩笑话导致了罗丝杀死她的丈夫。在此之后，近乎错乱的罗丝盯上了玛丽，而后者也几近崩溃，加上前夫史蒂文（Ed Quinn 饰）的骚扰更令她痛苦不堪。　　一切朝着不可预知的方向发展……

债务缠身又私生活混乱与女人纠缠不清的男演员某天遇见一位16岁的少女自称是他女儿，渐渐地，他的生活态度就此改aaa。