这是一个小女孩的冒险故事，生活在维多利亚时代的女孩温迪（雷切尔·霍伍德 饰），出生在压抑的环境中，还整天被一个呆板顽固的父亲，扼杀她童年的快乐和梦想。温迪的好朋友约翰和米高，也遭受着同样的痛苦，他们梦想着有一天，能够学会在天上飞，这样他们就可以飞离令他们讨厌的家了。 　　终于有一个黑暗的夜晚，长着乳牙的小飞侠彼得·潘（杰里米·森普特 饰），飞到了他们的窗前，说要教会他们飞翔，带他们去一个美丽的地方。温迪、约翰和米高都高兴极了，于是，他们很快就跟着小飞侠学会了飞，而且飞到了一个美丽的海岛——梦幻岛。 　　原来，小飞侠是梦幻岛上永远也长不大的调皮小孩，他和小仙子一起生活在这个岛上，但两个人觉得多少有点寂寞，于是就请来了云蒂他们三个梦想飞的人类小孩。 　　飞到梦幻岛，温迪立刻被这个美丽而神秘的海岛吸引住了，这里有茂密的丛林、高大的树木，还有野蛮的印第安人，以及横行附近海面的坏蛋海盗。小飞侠带着温迪他们找到了六、七个隐蔽的树洞，这就是他们在梦幻岛上的家，平时他们在海盗的深处探险，晚上累了就回到树洞休息游戏。 　　温迪、约翰和米高本来可以在梦幻岛开心地嬉戏玩乐，和小飞侠与小仙女两位神秘朋友快乐的生活，优哉游哉，岂料，无恶不作的海盗铁钩船长（詹森·艾萨克 饰）带着他的一帮海盗前来大肆破坏。勇敢的小飞侠，这次要营救他的好朋友离开梦幻岛，为此他要与铁钩船长展开一轮激战……

小飞侠皮特•潘是梦幻岛上永远不会长大的小精灵，这天，忍不住寂寞的他飞到了伦敦，飞入了小女孩温蒂的家。温蒂做梦也没有想到这世界上真的有小精灵存在，而且自己还被邀请前往梦幻作客。兴奋不已的她带上两个弟弟，三人一起跟随小飞侠飞往了那个想象中的世界。
梦幻岛上有温蒂他们从来没有见过的各种各样的东西，印第安酋长、美丽的公主、童话中的人鱼等等，让三人玩得十分开心，小飞侠还帮他们在这里安了家。这时，坏蛋海盗船长来到了岛上，小飞侠必须去战斗了！

At a village fête, Poirot runs into an old friend, John Harrison and his fiancé Molly Deane, a fashion model. Harrison invites Poirot and Hastings to tea the following week where Poirot learns that Molly had once been engaged to a local artist, Claude Langton. Poirot is puzzled by a number of apparently unrelated incidents but concludes that someone is being untruthful and that a murder is being planned. Courtesy of Hastings' new hobby, photography, Poirot knows exactly what is going to occur.

When Peter Hessler went to China in the late 1990s, he expected to spend a couple of peaceful years teaching English in the town of Fuling on the Yangtze River. But what he experienced - the natural beauty, cultural tension, and complex process of understanding that takes place when one is thrust into a radically different society - surpassed anything he could have imagined. Hessler observes firsthand how major events such as the death of Deng Xiaoping, the return of Hong Kong to the mainland, and the controversial consturction of the Three Gorges Dam have affected even the people of a remote town like Fuling. Poignant, thoughtful and utterly compelling, "River Town" is an unforgettable portrait of a place caught mid-river in time, much like China itself - a country seeking to understand both what it was and what it will one day become.

This movie will be dismissed for political reasons. There are a few laughs at the expense of characters that certain reviewers want to see only in an elevated light. But Intern Academy as a film improves as it goes along. The look is at first kind of washed out, but eventually there are some more pleasing sets. I had heard this was shot on video, but I could not tell as I watched it opening day. Purely, I supported it because Dave Thomas deserves a hit, and he has the same birthday as me. Also, I appreciate his critical views of the media in his interviews for this film. I do think that he miscast himself a little bit in this film. Although Danny is shown in his requisite sunglasses and banging a drum in one scene, he and Thomas should have switched characters. He might be more believable as a cold authority figure teaching students and rattling off lists of maladies, whereas Dave Thomas is best as kind of a weasel or prankster or buffoon - which is especially evident when he runs. Dave Foley is right on the money as a smug, egotistical heart specialist, though it is jarring to see him in gray hair - especially because it is believable.
The movie likes to wallow, and the organ storage fight is a bit unbelievable, as is the mouth examination scene which contains Maurey Chaykin's excellent cameo performance. That character could have been more central, accidentally embarrassing people. Even though the girl who is embarrassed would have known better. Good enough, and especially welcome as a Canadian film that is just funny and not pretentious

A seminal work as melodious and haunting as the era it chronicles, now reissued with a new introduction. First published in 1968, Weimar Culture is one of the masterworks of Peter Gay's distinguished career. A study of German culture between the two wars, the book brilliantly traces the rise of the artistic, literary, and musical culture that bloomed ever so briefly in the 1920s amid the chaos of Germany's tenuous post-World War I democracy, and crashed violently in the wake of Hitler's rise to power. Despite the ephemeral nature of the Weimar democracy, the influence of its culture was profound and far-reaching, ushering in a modern sensibility in the arts that dominated Western culture for most of the twentieth century. Vivid and eminently readable, Weimar Culture is the finest introduction for the casual reader and historian alike. "[A]n enormously rich, intriguing, and exciting essay.... A major contribution to the study..."— The New York Times 16 black and white illustrations

This remarkable study in social and cultural change explains how and why the Late Antique world, between c. 150 and c. 750 A.D., came to differ from "Classical civilization." These centuries, as the author demonstrates, were the era in which the most deeply rooted of ancient institutions disappeared for all time. By 476 the Russian empire had vanished from western Europe; by 655 the Persian empire had vanished from the Near East. Mr. Brown, Professor of History at Princeton University, examines these changes and men's reactions to them, but his account shows that the period was also one of outstanding new beginnings and defines the far-reaching impact both of Christianity on Europe and of Islam on the Near East. The result is a lucid answer to a crucial question in world history; how the exceptionally homogeneous Mediterranean world of c. 200 A.D. became divided into the three mutually estranged societies of the Middle Ages: Catholic Western Europe, Byzantium, and Islam. We still live with the results of these contrasts.

Following the fall of the Roman Empire in the West, the cult of the saints was the dominant form of religion in Christian Europe. In this elegantly written work, Peter Brown explores the role of tombs, shrines, relics, and pilgrimages connected with the sacred bodies of the saints. He shows how men and women living in harsh and sometimes barbaric times relied upon the merciful intercession of the holy dead to obtain justice, forgiveness, and to find new ways to accept their fellows. Challenging the common treatment of the cult as an outbreak of superstition among the lower classes, Brown demonstrates how this form of religiousity engaged the finest minds of the Church and elicited from members of the educated upper classes some of their most splendid achievements in poetry, literature, and the patronage of the arts.
"Brown has an international reputation for his fine style, a style he here turns on to illuminate the cult of the saints. Christianity was born without such a cult; it took rise and that rise needs chronicling. Brown has a gift for the memorable phrase and sees what the passersby have often overlooked. An eye-opener on an important but neglected phase of Western development."--"The Christian Century "
"Brilliantly original and highly sophisticated . . . . ["The Cult of the Saints"] is based on great learning in several disciplines, and the story is told with an exceptional appreciation for the broad social context. Students of many aspects of medieval culture, especially popular religion, will want to consult this work."--Bennett D. Hill, "Library Journal "