格列佛（特德·丹森 Ted Danson 饰）在一次航行中遭遇了风暴，在茫茫大海中漂泊了数日的他最终陷入了昏迷之中。苏醒后，格列佛发现自己的手脚都被细线绑了起来，原来，他漂流到了小人国之中，成为了小小国民们的俘虏。

　　随着时间的推移，小人国的国民们发现格列佛这位看似危险的“庞然大物”其实十分友善，很快，他们之间就结下了深厚的友谊。在国王的安排之下，小人国的公主将要嫁给她根本就不爱的别国王子，远离自己的家乡。然而，在公主的内心深处，早就已经有了心上人。两个国家之间的关系因此而陷入了危机，此时，格列佛挺身而出，为国王出谋献计，最终撮合了公主和她的心上人，亦解决了小人国的“外交危机”。

亚瑟与苏珊因门当户对而订婚，婚前亚瑟因自觉不合而毁约，并娶琳达为妻，然而苏珊始终对亚瑟念念不忘，苏珊之父心生一计，以高价收购亚瑟家族产业，逼亚瑟四处流浪，并与琳达离婚娶苏珊，亚瑟因与琳达感情深厚不愿分手，而宁可过贫困的生活。亚瑟遇上苏珊父亲的仇人，合力收集证据欲加报复，但因法律时效已过，只好作罢。此时苏珊已明白亚瑟真正爱还是琳达而放弃，并劝其父归还亚瑟的财产，此时琳达已怀身孕，重返家园，无比温馨……

本片由莎士比亚的著名悲剧改编而成，该剧以中世纪的丹麦宫廷为背景，通过哈姆雷特为父报仇的故事，借古喻今，真实的描绘了文艺复兴时期欧洲和英国社会社会的现实与矛盾，宫廷中尔虞我诈，社会上民怨沸腾，人文主义理想在这个罪恶当道的社会已无法实现。

这部电影完全重新构想了《卡利古拉：暴君的崛起与陨落》（1979 年），基于 96 小时从未公开过的镜头，这些镜头是在电影上映多年后恢复的。在历史学家托马斯·内戈万Thomas Negovan的监督下，这部电影的“终极剪辑”得以制作。整部电影没有用新镜头来扩展现有场景，而是从头开始剪辑，因此最终版本中没有包含影院版的任何一帧。视觉效果被用来增强场景并替换廉价的布景和背景，人工智能技术被用来恢复之前无法使用的、被背景噪音困扰的对话。与公共领域的芭蕾舞音乐形成鲜明对比的是，还创作了新的配乐。最初计划于 2020 年底在影院限量上映，但由于法律困难、发行问题和 Covid-19 疫情而被推迟。该版本最终于 2023 年在戛纳电影节首映，并获得了演员马尔科姆·麦克道威尔（之前曾因该电影而蒙羞）和海伦·米伦女爵士的高度评价。

A small time diamond merchant jumps at the chance to supervise the purchase and cutting of a large first class diamond. But when the diamond is stolen from him, he is blackmailed into pulling off a major heist at the Diamond Exchange, located at 11 Harrowhouse.

全明星阵容为这部1970年翻拍的威廉·莎士比亚经典戏剧增色不少，该剧描绘了尤利乌斯·凯撒在三月十五日遇刺的故事，以及由此引发的暗杀者领导的派系与马克·安东尼领导的派系之间的战争。

　　影片以见证人、叙述者查理斯·赖德的视角讲述了二战爆发前的英国，伦敦近郊布赖兹赫德庄园的兴盛与沉沦，描写了这个天主教家庭的生活与命运。牛津大学，查理斯结交了贵族出身身份显赫的纨绔子弟圣巴斯蒂安·弗雷特。圣巴斯蒂安严苛的母亲马奇曼侯爵夫人掌管着布赖兹赫德庄园，庄园上下都是虔诚的天主教徒。然而父亲抛弃妻子与情妇久居威尼斯的丑闻，给子女从小就留下了耻辱的印记，扭曲了他们的天性。日日饮酒作乐纸醉金迷的圣巴斯蒂安，邀请查理斯到庄园参加他的家族晚宴。查理斯对圣巴斯蒂安的妹妹朱莉娅一见倾心。三人间扑朔迷离、暧昧不清的感情纠葛从此展开，跨越数十载，那些爱与生活，痛苦与信仰，都经不住物是人非。

When Gerry Wade sleeps in and is late for breakfast, his friends find that he has a very good reason - he's been murdered. Lady Eileen Brent, known to her friends as Bundle and in whose bed Wade died, returns home and decides to investigate. When a second man is killed, he mentions something about " ...seven dials...tell Jimmy Thesiger..." but Thesiger has no idea what he was talking about. What they learn is of the existence of a secret society and of a hugely valuable formula for making a specialized form of steel. But who exactly is behind the two murders and why were they killed?

In 1830's England, young medical student Victor Frankenstein (Leonard Whiting), following the drowning death of his beloved brother, bitterly renounces God and vows to find the secret to creating life himself. He crosses paths with the eccentric Dr. Henry Clerval (David McCallum) who shares his quest and takes the younger Victor under his wing. When experiments in reanimating insects and a severed human arm succeed, the two prepare to bring to life a man whom they have assembled from body parts of victims of a mining accident. On the eve of their attempt, Henry discovers that the process will reverse itself and dies from heart failure before he can sufficiently warn Victor. Committed to carrying on his late friend's work, Victor forges ahead and brings to life a creature of incredible beauty and innocence (Michael Sarrazin). The two develop a close, affectionate relationship and Victor looks forward to presenting his creation to society as "the new Adam." Inevitably, the flaw in Clerval's procedure results in the grotesque distortion of the Creature's appearance, causing Victor to callously reject him. The Creature attempts suicide but to his dismay finds he can't be killed. He leaps from the White Cliffs of Dover, and Victor assumes he's seen the last of his bungled handiwork.
The Creature, still very much alive, wanders the countryside and befriends an old blind man (Sir Ralph Richardson). He also develops an infatuation with his daughter Agatha (Jane Seymour) whom he observes in secret. In a tragic accident Agatha is killed, and the Creature brings her to his birthplace, seeking Victor's aid. Instead, he finds the lab has been taken over by Dr. Polidori (James Mason), a former colleague of Henry's.
Victor meanwhile has moved on, returning his attention to his fiancee Elizabeth (Nicola Pagett) and attempting to live a normal life. His plan is thwarted by Polidori, who uses the Creature to forcibly enlist Victor's help in bringing yet another body to life, this time female. The result is Prima (also Jane Seymour), a stunning beauty with an evil, cold heart. Finding no further use for Victor's creature, Polidori locks him in his laboratory and sets it ablaze, while Victor stands by helplessly.
Polidori grooms Prima and schemes to use her to gain entree into the cream of society and seats of political power. Prima's coming-out party is memorably cut short by the arrival of the uninvited Creature. Events come to a head when she viciously attacks him, inciting his jealousy and murderous rage.
Their life in a shambles, Victor and Elizabeth charter a boat to escape to America, unknowingly accompanied by both Polidori and the Creature. After a storm and much violence only Victor and his Creature are left on the ship. Wishing to escape humanity, the Creature steers the ship toward the North Pole. Victor and the Creature confront each other for a final time in the Arctic wasteland.

The first act opens with Hirst's offering a drink to Spooner: "As it is?" – that is, neat (UK) or straight (U.S.) – and Spooner's reply: "As it is, yes please, absolutely as it is" (15). During the first act, Spooner claims to be a fellow poet and to have known his more illustrious literary host and mutual acquaintances and relationships in the past. Toward the end of act one, Hirst's keepers (quasi-body guards) "vagabond cock" Foster and Briggs seek to fend off the self-insinuating Spooner, leading Hirst "out of the room (52) and away from him. The act ends with a "Blackout" – visually demonstrating Foster's taunt: "Listen. You know what it's like when you're in a room with the light on and then suddenly the light goes out? I'll show you. It's like this. ... He turns the light out" (53).
During Act Two, in his increasingly inebriated state, Hirst may mistake or feign recognition of Spooner as an Oxbridge classmate from the 1930s, an apparently false impression which Spooner nevertheless encourages (68–78), leading both of them into a series of increasingly questionable reminiscences, which Hirst finally and abruptly undercuts: "This is outrageous! Who are you? What are you doing in my house?" going on to accuse Spooner of being an impostor: "You are clearly a lout. The Charles Wetherby I knew was a gentleman. I see a figure reduced. I am sorry for you. Where is the moral ardour that sustained you once? Gone down the hatch." – allusively and both wistfully and comically combining the clichés "Gone with the wind" and "Down the hatch," after which, Briggs "enters, pours whisky and soda, gives it to" Hirst, who "looks at it" and then says, "Down the hatch. Right down the hatch. (He drinks.)" (78). Hirst proclaims, "Let us change the subject. Pause. For the last time." (91), but immediately asks, "What have I said?" That leads the characters to debate what Hirst's phrase for the last time precisely "means" (91–94), leaving all of them, according to Spooner, "in no man's land. Which never moves, which never changes, which never grows older, but which remains forever icy and silent." Following the illustrative "Silence", Hirst utters the play's final words and provides its final action: "I'll drink to that" (95): "He drinks," paralleling the opening words of the first act ("As it comes?"), and the play ends, ambiguously, with a "SLOW FADE" of lights (95).

德克·博加德饰演数学天才塞巴斯蒂安，他得到英国政府的工作，负责解码。但也因此爱上美丽的同事，让他们的办公室恋情更显复杂。

(1986)本片改編自知名英國劇作家奧斯卡王爾德(Oscar Wilde)的經典小說。故事主軸圍繞在坎特維爾古堡的賽門爵士(約翰吉爾格，「二八佳人花公子」)身上，他是個已有三百多歲的鬼魂，頑固地守著他的古堡，拒絕讓任何人接近，直到有一天，有個美國家庭舉家搬來了英國，準備繼承遺產--亦即坎特維爾古堡。賽門的鬼魂使出了渾身解數想嚇走這一家美國人，卻在無意間與其家中最年輕的成員珍妮佛(艾莉莎瑪蘭諾，電視影集「妙管家」)變成了朋友；而由於珍妮佛不願見到繼母取代她母親的地位，便央求賽門爵士幫她將繼母嚇走，趕出這個家，最後珍妮佛的計謀會成功嗎？這是一部適合闔家觀賞的喜劇片，導演保羅鮑嘉另有「同性三分親」、電視影集「黃金女郎」等代表作。

A TV Dante, produced by Britain’s Channel Four during the 1980s and aired in Britain in 1990, presents the first eight cantos of the Inferno.
Co-directed by Peter Greenaway and Tom Phillips. Phillips, a composer, artist and critic, is perhaps best known for his interest in the art of the page. His 1983 translation of the Inferno is used for the production. (The rest of the Inferno has been divided among directors Raul Ruiz, Terry Gilliam, Zbig Ribzynski and Nagisa Oshima)
The title of A TV Dante was clearly studied to put in play the high cultural register now evoked by the name ‘Dante’ and the low cultural register evoked by ‘TV.
Review
Cantos 1 - 8, co-directed by Tom Phillips and Peter Greenaway, was shown on television and later released on video in UK. Ruiz’s casting of his native Chile as the inferno visited by Dante and Virgil in Cantos 9 - 14 (uploaded here) was met with criticism and never broadcast or released on VHS in Europe. Ruiz’s series later found a life in Latin America where it was eventually shown on television where this version comes from. The remaining Cantos 15-34 were never made..

She created one of the most indelible images ever brought to the big screen as the wily Southern survivor Scarlett O'Hara. Vivien Leigh's rise to fame and subsequent faltered steps are detailed in Hollywood Remembers: Vivien Leigh -- Scarlett and Beyond. Leigh began her career with the role that earned her an Academy award. Competing with such names as Bette Davis and Tallulah Bankhead, the British starlet rose quickly through the ranks to become a much-respected actress. She married fellow legend Laurence Oliver in a partnership that lasted 20 years. Throughout her career, Leigh assumed role after role that garnered her much praise. She became Anna Karenina in 1948 and Blanche Dubois from A Streetcar Named Desire three years later. Despite her successes, Leigh battled tuberculosis and mental illness constantly. She suffered miscarriages and underwent electric shock therapy. In the end, the viewer is left with an impression of talent and distinction contained in one of the most luminous careers of all time.

秘密警探受企业所托前往调查离奇货轮沈船事件。不料真相背后隐藏更多谋杀和国际组织犯罪内幕。

Jonathan Miller's Alice in Wonderland is a masterpiece.
There have been several films that attempted to bring the viewer into the dream of Lewis Carroll's Alice.. but none have succeeded like Jonathan Miller's 1966 BBC Alice in Wonderland. A legendary cast.. without costumes.. improvises Lewis Carroll's work with an unsettling brilliance. The result is a film that casts a new light.. or shadow.. on a story beloved by millions. A dark environment both in aesthetics and passion.. Jonathan Miller recreates Alice's dream into a nightmare. One that doesn't allow the viewer to get comfortable unless they can accept the evil undercurrent that moves the story forward.. or backwards. The film is cast with many legends of the screen and stage.. all of whom provide performances worthy of the legend accolade. The character of Alice is represented differently than in traditional adaptations. She seems almost removed from the "reality" taking place before her.. even at times when she is involved in the "reality" as much as the characters of her dream-world. Jonathan Miller's Alice in Wonderland for BBC television is a must-see for anyone who enjoyed Alice's Adventures in Wonderland and Through the Looking-Glass or anyone who enjoys low budget films that are improvised into timeless masterpieces.

1913, shortly before the outbreak of WWI. A group of aristocrats gathers at the estate of Sir Randolph Nettleby for a weekend shoot. As the terminal decrepitude of a dying class is reflected in the social interactions and hypocrisy of its members, only world weary Sir Randolph seems to realise that the sun is setting.