幾萬年后，邪惡的宇宙帝王惡靈宙達即將要從次元監(jiān)獄 中逃出來！為了阻止帝王逃脫，拯救銀河系，超級英雄 - 超人勝利必需要新的秘密武器，那就是劍與笛的混合體–騎 士劍笛！可是超人的騎士劍笛所奏出的旋律能否足以阻止惡 靈宙達及他的怪獸軍團摧毀一切嗎？

　　在并不遙遠的未來，一套趨近真實的模擬系統(tǒng)得到開發(fā)，參加者進入模擬系統(tǒng)后仿佛身臨其境。系統(tǒng)開發(fā)者湯姆·福特（西恩·菲利斯 Sean Faris 飾）及伙伴們不斷對其升級，更與軍方積極合作，進行實景反恐演練。
　　某晚，湯姆和另外兩名伙伴將系統(tǒng)布置在一座廢棄的監(jiān)獄內(nèi)，此前，這座隸屬于英國政府的監(jiān)獄曾被用來拷問與911事件有關(guān)的恐怖分子，此地陰森恐怖的氣氛正好符合湯姆他們的需求。這群充滿童心的大男孩進入系統(tǒng)，與虛擬的恐怖分子展開對抗。然而隨著游戲的進行，一些原本系統(tǒng)中并不存在的情節(jié)開始出現(xiàn)。受到欲望的趨勢，這群年輕人耽于聲色暴力之中，并未對反常狀況引起警覺，殊不知危險正悄悄向他們逼近……

　　茫茫宇宙中一顆無名星球上，生活著體形懸殊的兩種生物。占主導地位的是戴格斯人，他們身形巨大，擁有極高的文明和智慧，可以使精神擺脫肉體自在游弋；與之相對的是奧姆斯人，他們具有地球人的外表和身形，社會形態(tài)原始落后，在戴格斯人面前有如螻蟻，于是當仁不讓成為這些巨人的奴隸和玩物。奧姆斯人具有頑強的生命力和繁殖能力，他們的數(shù)量與日俱增，造成了統(tǒng)治者的困擾。于是，一場針對奧姆斯人的剿滅戰(zhàn)隨即展開。這本是一場微不足道的如同剿滅害蟲的行動，但一個不起眼的奧姆斯人改變了雙方的格局。泰爾是被一個戴格斯女孩豢養(yǎng)的奧姆斯男性寵物，他通過主人的教學機器學到了戴格斯人先進的科學文化知識。偶然機會，泰爾逃離戴格斯家庭，成為了領(lǐng)導奧姆斯人對抗統(tǒng)治者的領(lǐng)袖……
　　本片榮獲1973年戛納電影節(jié)特別獎。

　　Based on the novel by Karel Capek, the prominent Czech writer of the early 20th century who coined the word robot for his play R.U.R., the story revolves around a discovery of Krakatit - a powerful explosive - by Prokop, an experimental scientist who, following an accidental explosion in his lab, slips in and out of delirium. When he realises that, in a delirious period, he has given the formula for making Krakatit to one of his colleagues, he tries to find the man, who does not realize how dangerous a thing Krakatit is. In the process, he nearly gives his discovery away again to foreign interests, a group of anarchists, and even greater forces of darkness...

　　Wunder der Sch?pfung 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special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact.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 Sch?pfung 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.

　　Post-nuclear-war dramas centering on a small group of survivors now constitute an entire genre in science-fiction films. All of them, in some way or another, can be traced back to this seminal film from 1951 in which five people deal with the possibility they are the only human beings left alive on the planet.
　　While most of the later movies exploited this possibility for B-movie thrills, "Five" adopts a quiet, contemplative tone which some may find dull but which thoughtful viewers are more likely to find, for want of a better word, haunting. There is something about this movie which gets under the skin and which lurks in the corners of the mind long after it's over.

　　小男孩在爬上一個電纜高路標塔時觸電。他長大后，發(fā)現(xiàn)自己在暴怒時會有零星的電從拳頭中飛閃出來。在東京的別處，也有一個電子奇才，他碰巧是個嗜好電子武器的義務(wù)警員。當兩人互相引起彼此的注意時，一場無法避免的大戰(zhàn)即將把整個城市點燃……幾乎是對傳統(tǒng)影像技術(shù)的顛覆和批判，淺野忠信在片中飾演的的人物，能操縱電流，和爬蟲類動物對話。淺野忠信再次發(fā)揮自己的瘋狂張揚的演技，把角色演繹成了一個熱烈、頹廢、壓抑的狂徒。并足以向著名的《鐵男》挑戰(zhàn)。

　　小松左京の同名SF小説を原作に、超能力を持つ諜報員?エスパイたちの活躍を描く。當時の技術(shù)で、果敢に超能力を表現(xiàn)しようとする試みが光る。田村、マリア、三木の3人は、國連の秘密組織’“エスパイ”で働いていた。エスパイとは、超能力を悪用する逆エスパイと戦うための超能力者を養(yǎng)成する機関である。やがて、東西冷戦の要?バルトニアの首相暗殺計畫をめぐって3人の活躍が始まる……。

　　龍劍北因為要籌錢救自己病重的妹妹，在一次機緣巧合之下，接觸到神秘組織黑羽會，黑羽會不斷在做人體實驗，企圖造出擁有超能力的改造人。為了錢，龍劍北接受超能力改造。由于控制不了體內(nèi)的超能力，龍劍北拜了一位老者為師，學習駕馭超能力，學會了如來神掌，并結(jié)識了一位武林中的名門正派，二人一同上路，展開了各種緊張刺激的冒險……

　　A girl flees her orphanage in a paranoid belief that otherworldly forces are after her. She seeks refuge in the remote town of Fate, Texas, but is met with hostility. The residents are about to enter her Hell.