威廉·夏特納和倫納德·尼莫伊2001年為紀念DeKelley拍的紀錄片，整部就是兩個人對話，超級有愛，兩位爺爺嘮家常的紀錄片，看到最后談到兩個人關(guān)于人生終點的看法，WS和LN一同坐在LN家里的院子里，晴空微風(fēng)，綠樹綠草，兩位老人時而大笑時而嚴肅的交談，讓人感覺甜蜜又感動，這是ST所延伸的又一份美好。是經(jīng)歷了歲月越發(fā)耀眼的珍寶。

　　海王星中某處正在秘密研究制作宇宙中最強、最冷血的生化戰(zhàn)士以便征服地球，強是一位星際貨柜車的駕駛在宇宙中跑單，某日認識伙伴麥克和辛蒂二人，在同時也得罪了貨運站中最強最有勢力的公司，急需離開太空貨運站的強在地下貨運站中接了一批急件送往地球的詭異貨物，途中經(jīng)過小行星隕石區(qū)遭受到了隕石強烈撞擊，又遭到星際大盜的洗劫，但這次星際大盜強劫了致命的死神，強和麥克、辛蒂三人如何逃離星際大盜和生化戰(zhàn)士的魔掌解救地球的毀滅浩劫？

　　探險家正風(fēng) (李修賢) 到森林探險，遇到大猩猩及女泰山阿維。惜正風(fēng)誤墮娛樂商人魯天圈套，猩猩王被帶往香港表演。阿維不忍心大猩猩被凌辱，傷心不已。魯意圖污辱阿維，猩猩王大怒，大肆搗亂…

　　A party of archaeologists discovers the remnants of a mutant five-millennia-old Sumerian civilization living beneath a glacier atop a mountain in Mesopotamia.

　　Eternal life technology (transferring mind to new body) is developed by 2 companies. Resistance to the merger of the 2 companies is met with kidnapping and murder.

　　該部作品是由《雄兵連》系列作品分支出來的核心環(huán)節(jié)。在該部大電影中，孫悟空以斗戰(zhàn)勝佛身份出現(xiàn)，一個活在現(xiàn)代與外星文明對抗的超級英雄，與烈陽文明之間、帝蕾娜之間會有怎樣一段巔峰對決？

 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(dǎo)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(dāng)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(xué)機器學(xué)到了戴格斯人先進的科學(xué)文化知識。偶然機會，泰爾逃離戴格斯家庭，成為了領(lǐng)導(dǎo)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.