1830年西点军校发生了一系列谋杀案，退休侦探Augustus Landor（克里斯蒂安·贝尔 饰）对此展开调查，而协助他那位注重细节的年轻学员，正是后来成为举世闻名作家的埃德加·爱伦·坡（哈利·米尔林 饰）。

Paddy Gargan, landlord of the Greyhound pub, bans Calum Miller for smoking, antagonizing the boy's father Tom, a dodgy business-man who nonetheless subsidizes the pub's soccer team and threatens to pulverize Paddy if the ban is not lifted by the next afternoon. Because of Tom's support for them, the football team will not lend Paddy supportive muscle and Paddy is indeed beaten to a pulp. But come evening he scores a moral victory, resulting in the bullied Calum and his mother walking out on Tom Miller.

Pete has recently got a new job as a vacuum cleaner salesman. His mentor is the veteran Tommy, whose methods are rather rude; his sole target is to be the best salesman in his team and to receive the "Golden Hoover". Their temperaments are quite different and the apprentice days turn wilder and wilder.

蒂莫西·斯波、菲利斯·洛根将继[秘密与谎言]23年后再合作，主演新片[末班车](The Last Bus，暂译)。本片由基利士·麦根诺([北非情人])执导，目前正在制作中，Joe Ainsworth(《霍尔比市》)撰写剧本。故事围绕鳏夫汤姆(斯波饰)展开，当他的妻子玛丽(洛根饰)去世时，他打算在英国展开怀旧之旅，从苏格兰的约翰欧格罗兹到他们共同的出生地康沃尔的兰兹角。他只乘坐当地的公交车，与当地人的接触让他成为了一个媒体现象。于是当他到达兰兹角时，惊讶地发现自己受到了名人般的欢迎。

1977年的威斯贝克音乐节是摇滚乐迷心目中的一场传奇性户外音乐盛会，一个当时颇受欢迎的乐团「奇异果（Strange Fruit）」，因一名团员在舞台上被闪电击毙，令该团不得不被迫戏剧性地解散。 历经20年后，音乐界计画找回当年表演的团体，将在1998年举办一场纪念音乐会，此时早已破产的键盘手东尼找上了当年的经纪人凯伦， 他们两人为了让重组「奇异果」乐团，努力找寻早已失去连络的团员，却发现他们如今都已雄心不再，变成一般的平民老百姓，一心想东山再起的东尼要如何将这几个已经变老、变胖的欧里桑，重新改造成摇滚「老」乐手，好再次赢得乐迷的喜爱呢？

故事发生在保加利亚的首都索菲亚，近日来，接连发生的数起凶杀案让居民们陷入了深深的恐慌之中，这引起了克拉克大使（Antoaneta Yordanova 饰）的注意。克拉克找到了探员罗伯特（克里斯蒂安·史莱特 Christian Slater 饰），希望他能够调查此案，让真相水落石出，将凶手捉拿归案，肩负重任的罗伯特随即展开了行动。
原来，这一连串案件的幕后黑手是一位名叫维奇（Elika Portnoy 饰）的女子，童年时代的悲惨遭遇让维奇患上了精神疾病，时至今日，她依然还在接受着心理医生卡恩（蒂莫西·斯波 Timothy Spall 饰）的治疗。巧合的是，卡恩和罗伯特是交往多年的好友，被案件苦苦困扰的罗伯特并不知道，他千方百计想要找的人，竟然就藏在自己的身边。

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"1871" is a visually sumptuous, multi-layered treatment of the Paris Commune which was selected for the "Un Certain Regard" section of the 1990 Cannes festival.

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The bloody history of radical revolutionary movements in France has frequently provoked otherwise reasonable people in other countries to have an unreasoning fear of alternative political movements. In 1871, Napoleon III ruled France in a way that made him very popular with the rich and with aristocrats and would-be aristocrats around the world. In particular, he rigorously suppressed any hint of dissent, and prevented the development of trade unions and socialist political movements. In 1871 there was a bloody uprising which produced a short-lived regime known as "The Paris Commune," founded on principles every bit as radical as anything from the French Revolution of 1789. The story of this time is told from the point of view of the actress Severin (Ana Padrao) and the theater in which she worked. Her favors were sometimes available to those with sufficient funds, and she had two lovers: one, a revolutionary, the other, an English spy. In the end, neither is able to save her.

　　欢迎来到二战前的英国小镇布兰丁斯集市，小镇临近美丽的布兰丁斯山谷，湖光山色间坐落着布兰丁斯城堡，一座历史悠久的大庄园。如果你已经迷路，并接受了草地上一头猪的庄重致意，恭喜你和庄园主艾姆斯华斯伯爵调到了同一波长，住下来度个假吧！不过看这一家的混乱程度，伯爵的小日子就快没法过了…… 《布兰丁斯城堡》系列小说是英国作家P.G.伍德豪斯笔下世界的一部分，发表于1915至1975年。伍德豪斯多次被誉为莎士比亚之后最出色的幽默作家，但这也使他的作品难以搬上荧幕。看过《万能管家》(Jeeves & Wooster)的观众可能还记得他的风格，黄金般的二三十年代，千奇百怪的角色闹出各种笑话，轻松灵动，不虐不渣，刚欢度了圣诞节的你，不来破烂熊用一杯下午茶吗？

讲述了1920年代英国海滨小镇的一桩荒诞新闻，当地伊迪丝·斯旺和爱尔兰移民罗斯是邻居，当伊迪丝和其他居民开始收到匿名信件时，罗斯被认为是始作俑者。然而，当以警官格拉迪斯·莫斯为首的镇上妇女们开始自行调查这起事件时，她们注意到事情有些不对劲，罗斯可能根本不是罪魁祸首。

Act I

A night in winter

[Scene 1]

Aston has invited Davies, a homeless man, into his apartment after rescuing him from a bar fight (7–9). Davies comments on the apartment and criticizes the fact that it is cluttered and badly kept. Aston attempts to find a pair of shoes for Davies but Davies rejects all the offers. Once he turns down a pair that doesn’t fit well enough and another that has the wrong colour laces. Early on, Davies reveals to Aston that his real name is not "Bernard Jenkins", his "assumed name", but really "Mac Davies" (19–20, 25). He claims that his papers validating this fact are in Sidcup and that he must and will return there to retrieve them just as soon as he has a good pair of shoes. Aston and Davies discuss where he will sleep and the problem of the "bucket" attached to the ceiling to catch dripping rain water from the leaky roof (20–21) and Davies "gets into bed" while "ASTON sits, poking his [electrical] plug (21).

[Scene 2]
The LIGHTS FADE OUT. Darkness.

LIGHTS UP. Morning. (21) As Aston dresses for the day, Davies awakes with a start, and Aston informs Davies that he was kept up all night by Davies muttering in his sleep. Davies denies that he made any noise and blames the racket on the neighbors, revealing his fear of foreigners: "I tell you what, maybe it were them Blacks" (23). Aston informs Davies that he is going out but invites him to stay if he likes, indicating that he trusts him (23–24), something unexpected by Davies; for, as soon as Aston does leave the room (27), Davies begins rummaging through Aston's "stuff" (27–28) but he is interrupted when Mick, Aston’s brother, unexpectedly arrives, "moves upstage, silently," "slides across the room" and then suddenly "seizes Davies' "arm and forces it up his back," in response to which "DAVIES screams," and they engage in a minutely-choreographed struggle, which Mick wins (28–29), ending Act One with the "Curtain" line, "What's the game?" (29).
Act II

[Scene 1]
A few seconds later

Mick demands to know Davies' name, which the latter gives as "Jenkins" (30), interrogates him about how well he slept the night before (30), wonders whether or not Davies is actually "a foreigner"—to which Davies retorts that he "was" indeed (in Mick's phrase) "Born and bred in the British Isles" (33)—going on to accuse Davies of being "an old robber […] an old skate" who is "stinking the place out" (35), and spinning a verbal web full of banking jargon designed to confuse Davies, while stating, hyperbolically, that his brother Aston is "a number one decorator" (36), either an outright lie or self-deceptive wishful thinking on his part. Just as Mick reaches the climactic line of his diatribe geared to put the old tramp off balance—"Who do you bank with?" (36), Aston enters with a "bag" ostensibly for Davies, and the brothers debate how to fix the leaking roof and Davies interrupts to inject the more practical question: "What do you do . . . when that bucket's full?" (37) and Aston simply says, "Empty it" (37). The three battle over the "bag" that Aston has brought Davies, one of the most comic and often-cited Beckettian routines in the play (38–39). After Mick leaves, and Davies recognises him to be "a real joker, that lad" (40), they discuss Mick's work in "the building trade" and Davies ultimately discloses that the bag they have fought over and that he was so determined to hold on to "ain't my bag" at all (41). Aston offers Davies the job of Caretaker, (42–43), leading to Davies' various assorted animadversions about the dangers that he faces for "going under an assumed name" and possibly being found out by anyone who might "ring the bell called Caretaker" (44).

[Scene 2]

THE LIGHTS FADE TO BLACKOUT.
THEN UP TO DIM LIGHT THROUGH THE WINDOW.
A door bangs.
Sound of a key in the door of the room.
DAVIES enters, closes the door, and tries the light switch, on, off, on, off.

It appears to Davies that "the damn light's gone now," but, it becomes clear that Mick has sneaked back into the room in the dark and removed the bulb; he starts up "the electrolux" and scares Davies almost witless before claiming "I was just doing some spring cleaning" and returning the bulb to its socket (45). After a discussion with Davies about the place being his "responsibility" and his ambitions to fix it up, Mick also offers Davies the job of "caretaker" (46–50), but pushes his luck with Mick when he observes negative things about Aston, like the idea that he "doesn't like work" or is "a bit of a funny bloke" for "Not liking work" (Davies' camouflage of what he really is referring to), leading Mick to observe that Davies is "getting hypocritical" and "too glib" (50), and they turn to the absurd details of "a small financial agreement" relating to Davies' possibly doing "a bit of caretaking" or "looking after the place" for Mick (51), and then back to the inevitable call for "references" and the perpetually-necessary trip to Sidcup to get Davies' identity "papers" (51–52).

[Scene 3]
Morning

Davies wakes up and complains to Aston about how badly he slept. He blames various aspects of the apartment's set up. Aston suggests adjustments but Davies proves to be callous and inflexible. Aston tells the story of how he was checked into a mental hospital and given electric shock therapy, but when he tried to escape from the hospital he was shocked while standing, leaving him with permanent brain damage; he ends by saying, "I've often thought of going back and trying to find the man who did that to me. But I want to do something first. I want to build that shed out in the garden" (54–57). Critics regard Aston's monologue, the longest of the play, as the "climax" of the plot.[3] In dramaturgical terms, what follows is part of the plot's "falling action".
Act III

[Scene 1]
Two weeks later [… ]Afternoon.

Davies and Mick discuss the apartment. Mick relates "(ruminatively)" in great detail what he would do to redecorate it (60). When asked who "would live there," Mick's response "My brother and me" leads Davies to complain about Aston's inability to be social and just about every other aspect of Aston's behaviour (61–63). Though initially invited to be a "caretaker," first by Aston and then by Mick, he begins to ingratiate himself with Mick, who acts as if he were an unwitting accomplice in Davies' eventual conspiracy to take over and fix up the apartment without Aston's involvement (64) an outright betrayal of the brother who actually took him in and attempted to find his "belongings"; but just then Aston enters and gives Davies yet another pair of shoes which he grudgingly accepts, speaking of "going down to Sidcup" in order "to get" his "papers" again (65–66).

[Scene 2]
That night

Davies brings up his plan when talking to Aston, whom he insults by throwing back in his face the details of his treatment in the mental institution (66–67), leading Aston, in a vast understatement, to respond: "I . . . I think it's about time you found somewhere else. I don't think we're hitting it off" (68). When finally threatened by Davies pointing a knife at him, Aston tells Davies to leave: "Get your stuff" (69). Davies, outraged, claims that Mick will take his side and kick Aston out instead and leaves in a fury, concluding (mistakenly): "Now I know who I can trust" (69).

[Scene 3]
Later

Davies reenters with Mick explaining the fight that occurred earlier and complaining still more bitterly about Mick's brother, Aston (70–71). Eventually, Mick takes Aston's side, beginning with the observation "You get a bit out of your depth sometimes, don't you?" (71). Mick forces Davies to disclose that his "real name" is Davies and his "assumed name" is "Jenkins" and, after Davies calls Aston "nutty", Mick appears to take offense at what he terms Davies' "impertinent thing to say," concludes, "I'm compelled to pay you off for your caretaking work. Here's half a dollar," and stresses his need to turn back to his own "business" affairs (74). When Aston comes back into the apartment, the brothers face each other," "They look at each other. Both are smiling, faintly" (75). Using the excuse of having returned for his "pipe" (given to him earlier through the generosity of Aston), Davies turns to beg Aston to let him stay (75–77). But Aston rebuffs each of Davies' rationalisations of his past complaints (75–76). The play ends with a "Long silence" as Aston, who "remains still, his back to him [Davies], at the window, apparently unrelenting as he gazes at his garden and makes no response at all to Davies' futile plea, which is sprinkled with many dots (". . .") of elliptical hesitations (77–78).

Benjamin Zephaniah, renowned Rastafarian poet/rapper is traveling by train from Birmingham to Cambridge to receive his Creative Arts Fellowship sharing a carriage with a racist and philistine car spares salesman played by Timothy Spall; by chance the poets Keats, Byron, Shelley and writer Mary Shelley are transported from a séance they are conducting in The Villa Como by a freak electrical storm. AQ battle of wits, drug taking and poetry performance ensues! —Andy Wilson

故事讲述了69岁鼓舞人心的教师Peter Farquhar，和魅力四射的年轻学生Ben Field，两人因对书籍的共同热爱，以及英国国教的关系，产生了一段亲密关系，这段关系造就了英国近年来最复杂、最令人困惑惊讶的刑事案件之一。
此外，故事还会聚焦Field的另一个目标——Peter的邻居，非常信教的Ann Moore-Martin。Field和她令人猜疑的关系，揭露了一系列惊人内幕。
剧集刻画了Field对Peter和Ann的操纵方式，呈现了极端的煤气灯效应、扣人心弦的警方调查，和备受瞩目的审判。不仅深刻强调了孤立和孤独的破坏性影响，也赞美了Peter和Ann作为导师、亲人和朋友，受人尊敬挚爱的一生。
该剧改编自真实事件，制作获得了受害者Peter Farquhar和Ann Moore-Martin家人的全力协助，探索了Peter和Ann在白金汉郡Maids Moreton的死亡，以及随后数年内发生的非同寻常的事件。

故事讲述了69岁鼓舞人心的教师Peter Farquhar，和魅力四射的年轻学生Ben Field，两人因对书籍的共同热爱，以及英国国教的关系，产生了一段亲密关系，这段关系造就了英国近年来最复杂、最令人困惑惊讶的刑事案件之一。

此外，故事还会聚焦Field的另一个目标——Peter的邻居，非常信教的Ann Moore-Martin。Field和她令人猜疑的关系，揭露了一系列惊人内幕。

剧集刻画了Field对Peter和Ann的操纵方式，呈现了极端的煤气灯效应、扣人心弦的警方调查，和备受瞩目的审判。不仅深刻强调了孤立和孤独的破坏性影响，也赞美了Peter和Ann作为导师、亲人和朋友，受人尊敬挚爱的一生。

该剧改编自真实事件，制作获得了受害者Peter Farquhar和Ann Moore-Martin家人的全力协助，探索了Peter和Ann在白金汉郡Maids Moreton的死亡，以及随后数年内发生的非同寻常的事件。

暑假里，男孩们白天打工晚上寻欢，这种生活令男主角杰米感到厌烦。直到他遇到美丽的旅行者朱丽安娜，他的世界才不再枯燥。不过随着朱丽安娜的到来，小镇上开始发生一些怪事：男孩们一个个地消失了。杰米被陌生人警告附近有狼人，而且它只捕食处男。流言传开，男孩们感到恐惧，怀疑狼人就在他们中间。而且从谈话中得知，其实他们都还是处男，一场血祭就要来临……

A young woman about to be married begins having terrifying dreams about demons. When she wakes, however, the demons are real and begin to commit gruesome murders.

一种前所未有的新型病毒在富人中流传开来，被病毒感染的人全部先癫狂后死亡，一时间，社会动荡不安，恐惧在所有富豪之间弥漫，富有程度越高，死的速度越快！当“富有”成为了一种病毒，富人、中产、穷人们都将作何反应？作为社会精英阶层的女主又会作何选择，是把自己的财产拱手相送保全性命，还是誓死守护富裕可观的私人财产？

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。

《死亡谷》以威尔士为背景，讲述了古怪的国宝级人物约翰·查佩尔（斯波饰）和魅力十足的警探珍妮·马洛温（凯沃斯饰）之间出人意料的破案合作。查佩尔是一位退休演员，曾主演热门虚构侦探电视剧《凯撒》。查佩尔则是一位令人信服的警探。约翰的邻居被谋杀后，两人走到了一起。约翰和珍妮是一对性格古怪却又妙趣横生、本能迥异的搭档，每周都要追查扣人心弦的谋杀案的真相。