《老爸上战场》的主角是一群居住在英国小镇上的老爷子，他们的身份本是银行职员、小店老板。随着二战愈演愈烈，满怀报国热情的爷爷们没资格参加正规军，却自发组成志愿军团保家卫国，与德国间谍斗智斗勇。这支非正规军引起了媒体的主意，泽塔·琼斯饰演的女记者也来到小镇报道他们的故事。

亚历山大艾伯林，俄国人，在经历过一段地狱式训练后成为一名高级间谍被派到英国情报局卧底，秘密执行各种间谍任务，时间转瞬即逝在英国情报局总共呆了18年之久，长期的间谍任务使他心力交瘁，于是他想重回祖国的怀抱，但是被他的上级否决，此时，他又被派到英国各处秘密执行暗杀计划，此时亚历山大·艾伯林人生有了新变化，个人安全处在危在旦夕中……

The Royle is a British sitcom about a family going through everyday life in the Royle family house......

In this series, first shown between 5th September to 10th October 1993, director Richard Lester (A Hard Day's Night, The Three Musketeers) surveys a remarkable decade in British filmmaking through archive clips and interviews with directors and stars.

Although the newspaper ads have been announcing Alexander Solzhenitsyn's "One Day in the Life of Ivan Denisovich," what opened yesterday at the 68th Street Playhouse is a movie by Casper Wrede, of which Solzhenitsyn's novel is the source and not the finished product. Actually the confusion, which would make perfect sense to any publicist, is to a degree supported by the film, for it is not merely a close adaptation; it has, much of the time, the look and, indeed, the feel of a careful, tasteful, rather sumptuous illustrated edition.
Ivan Denisovich (Tom Courtenay) is a political prisoner, a poor peasant who, while in the Russian army during World War II, escaped from a Nazi P.O.W. camp and for his pains was sentenced by the Stalinist government 10 years as a spy. He is now in his last two years, a seasoned prisoner in an especially harsh Siberian labor camp, where the film, like the book, follows him from before dawn until after dark through the depressions and successes of one unexceptional midwinter day.
But I doubt whether anything really gets into the movies as "unexceptional." And though the movie protests the modesty of its intentions (through the services of a fairly obtrusive voice-over narration) and honorably avoids all of the easier rhetorical excesses, it nevertheless strains toward a certain expansiveness, a range that it is one of the chief glories of Solzhenitsyn's novel never openly to assume.
For where the novel sees through the eyes of its Ivan Denisovich, whose rough, crafty, decent pragmatism saves it from most pretensions, the movie chooses mostly to look at him—and though Tom Courtenay is an actor who knows how to preserve his privacy in front of a camera, the result is that what had been "point of view" in the book becomes in the movie something less meaningful and more grand—something like "image of man."
I think this is why, despite some really estimable performances (besides Courtenay, I especially liked Espen Skjonberg as the tough and admirable work-gang boss Tiurin), the film tends to be happier the further it gets from its people—or, while it is with them, the more it can understand them as exemplars of the human condition and the less as individuals.
"One Day in the Life of Ivan Denisovich" is thus a movie that looks uncommonly good in long distance, as in the emergence of the prison camp, rather as a bright galaxy in a dark void, that begins the film; or in the stunning shots of the prisoners and the guards trudging across the flat snow-covered landscape from prison camp to work site in the morning and back again at night.
Such sequences, however, with their excellent cinematography (by Sven Nykvist, a veteran of recent Bergman films) and their intelligent exploitation of realistic locations (in Norway, near the Arctic Circle), carry the aura of an almost official view of high quality, as if this were how an important movie made from an important novel ought to look.
At its best, for example, in depicting the brick-laying that makes up the actual work day of Ivan Denisovich, or at its worst, in the stiff-upper-lip gentility of the dialogue in Ronald Harwood's screenplay, the movie means to expose a universality in its comprehension of individual experience. But at its best, and even at its worst, both the excellence and the ineptitude seem to derive from virtues and vices that are largely academic.

A squadron leader and a retired milkman decide to bury their differences and move in together after they are both widowed on the very same night. They become a companionable if odd couple, until their unlikely friendship is threatened by the arrival of an alluring woman with a hidden agenda.

在表现大屠杀的影片里，《最后的蝴蝶》的特殊之处在于它并未哭诉历史，而是选择沉静的方式来叙述，同样感人至深。希区柯克的御用配乐师Alex North为本片所创作的音乐也同样效果出众。

Sir John Mills' life told through his own colour home movies!
'Moving Memories' is a unique opportunity to experience the life of a film legend through his own 16mm home movies. Sir John started shooting in 1948 before home movie making became widely accessable. He shot on the then groundbreaking colour reversal film which means that many of his colour clips are behind the scenes on movies released in black and white, such as 'Ice Cold in Alex' and 'Dunkirk'. The cast list for these never before seen home movies is extraordinary. Sir John recorded personal moments with unforgettable stars.
Moving Memories features interviews with Sir John , Hayley, Juliet, Jonathan Mills, & Lord Attenborough. It features classic movie clips, plus never before seen personal home movie footage, and amazing behind the scenes shots. A truly unique film (60 minutes).
Following the discovery of 12000 feet of personal 16mm home movies in Sir John Mills' attic, Marcus Dillistone directed and edited 'Moving Memories', a 60 minute film which tells the extraordinary life and career of Sir John Mills, uniquely told through Sir John's own behind-the-scenes footage!
The 'cast' of these unique home movies reads like a cinema who's who: Rex Harrison, David Niven, Stewart Grainger, Jean Simmons , Dickie Attenborough, Dirk Bogarde, Ernest Borgnine and Angela Lansbury... to name but a few!

《巴尼·汤姆森传奇》由苏格兰男演员罗伯特·卡莱尔主演，这部影片也是卡莱尔的导演处女作。影片讲述了主人公汤姆森在苏格兰最大城市格拉斯哥一家理发店工作期间因争执失手杀死老板，并向自己滑稽且性格暴烈的母亲求助，随后陷入一系列误杀事件。母亲一角由奥斯卡影后、英国女演员埃玛·汤普森扮演，她在剧中浓妆艳抹且说话操着格拉斯哥口音，令人印象深刻。

An extra in a TV drama is finally given a line to say. He goes on to cause mounting chaos.

根据英国当代著名小说家格雷厄姆·斯威夫特的小说《杯酒留痕》改编，弗雷德·谢波西导演。汇集了迈克尔·凯恩、汤姆·卡特尼、大卫·海明斯等一批老戏骨，“女王”海伦·米伦也出演了该片。因此，影片也被戏称为英国演技派的“十一罗汉”。讲了一群退伍老兵，采用了大量的倒序手法。故事的主线是这群人遵循杰克·道兹的遗愿，从伯蒙德西前往马盖特，要将他的骨灰洒向大海。

In the 1980s schoolboy Joe loves hearing his grandpa's tales of his time as a Battle of Britain Spitfire pilot but with the onset of Alzheimers Joe's parents put the old man into Twilight Towers retirement home run by the sadistic Miss Dandy. When the family gets to visit Grandpa Joe is shocked at his treatment, also discovering Miss Dandy's plan to swindle the residents. So, helped by his sister and her boyfriend, Joe sets out to spring Grandpa, who insists on bringing the other old people with him. They succeed but Joe comes to see that Grandpa's condition has worsened and takes him for one last ride in a Spitfire - before Miss Dandy is finally brought to justice.

詹姆士·克拉维尔在他的小说《鼠王》中了不少自己作为英国战犯的经历。布赖恩·福布斯在同名电影中启用了影星乔治·西戈尔，让他在片中策划一个日本战俘集中营里的所有黑市交易。他之所以被称为“鼠王”是因为他饲养啮齿动物以供同伴的战俘食用，以及其多变的性格。在英国军官詹姆士·福克斯的协助下，他把交易扩展到日本军官。虽然西戈尔表面上是个自私的人，但他通过骗取守卫手里珍稀的抗生素挽救了病重的福克斯的性命。

故事讲述的是第二次世界大战期间，一群儿童被疏散到约克郡的一个村庄，在那里他们遇到了一位和他们一样远离家乡的年轻士兵。

　　艾米·杜丽的父亲威廉·杜丽经商失败，连累全家欠下巨额债务而被关进 了债务人监狱。在债务人监狱里出生、长大的艾米尽管出身卑微，生活困苦，但却有颗善良的心，从不吝惜为周围的人出力，也不为自己的贫困感到羞耻。21岁那年，她瞒着父亲到皮尔逊家当佣人，在那里她遇到了皮尔逊家的独子亚瑟。通过亚瑟的帮助杜丽一家因其姓氏得到意外的遗产离开监狱成为上流社会的一员。周遭的一切也因此突然变得不一样起来。经过种种，艾米和亚瑟是否最终走到一起？

英文名称应该是这个

这一个不凡世界，人的灵魂是一个以动物形式存在的精灵，且人与精灵密不可分，不然，生命将不复存在。 13岁的莱拉，长在这世界的约旦大学，没有家庭之爱，不识富有、强大但已成敌的父母，更不知自己身负震撼世界的诅咒；她终日与玩伴及他们的精灵自由自在地嬉闹，长成了一个诡计多端、恣意妄为且谎话连篇的野女孩。然而，可怕的预言无法抗拒，莱拉注定要承担起救世主之责，扮演人类之母夏娃的角色：人人畏惧的“尘埃”出现了，饕餮游荡在城市各个角，玩伴接连莫名失踪，快乐时光彻底完结于密友罗杰的失去，巨大的阴谋正在酝酿之中……于是，在个惟她可懂、能预知未来的黄金罗盘——真理仪的帮助下，浑然不觉险恶的莱拉决定去寻找被邪恶科学家掠走的孩子们，从此开了拯救世界的艰难之旅；她朝着未知的北极而去；等待她的，有披甲熊、女巫、天使、厉鬼，更有能够终结生命的精灵切割机…而领引她步步踏入死亡之地的，竟是其父，自然科学家阿斯里尔勋爵，与其母，狂热的原教旨主义信徒库尔特夫人……