暴风雨之星

　　茫茫宇宙中一颗无名星球上，生活着体形悬殊的两种生物。占主导地位的是戴格斯人，他们身形巨大，拥有极高的文明和智慧，可以使精神摆脱肉体自在游弋；与之相对的是奥姆斯人，他们具有地球人的外表和身形，社会形态原始落后，在戴格斯人面前有如蝼蚁，于是当仁不让成为这些巨人的奴隶和玩物。奥姆斯人具有顽强的生命力和繁殖能力，他们的数量与日俱增，造成了统治者的困扰。于是，一场针对奥姆斯人的剿灭战随即展开。这本是一场微不足道的如同剿灭害虫的行动，但一个不起眼的奥姆斯人改变了双方的格局。泰尔是被一个戴格斯女孩豢养的奥姆斯男性宠物，他通过主人的教学机器学到了戴格斯人先进的科学文化知识。偶然机会，泰尔逃离戴格斯家庭，成为了领导奥姆斯人对抗统治者的领袖……　　本片荣获1973年戛纳电影节特别奖。

　　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 Schöpfung 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special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact.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 Schöpfung 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.

　　Post-nuclear-war dramas centering on a small group of survivors now constitute an entire genre in science-fiction films. All of them, in some way or another, can be traced back to this seminal film from 1951 in which five people deal with the possibility they are the only human beings left alive on the planet.　　While most of the later movies exploited this possibility for B-movie thrills, "Five" adopts a quiet, contemplative tone which some may find dull but which thoughtful viewers are more likely to find, for want of a better word, haunting. There is something about this movie which gets under the skin and which lurks in the corners of the mind long after it's over.

　　小男孩在爬上一个电缆高路标塔时触电。他长大后，发现自己在暴怒时会有零星的电从拳头中飞闪出来。在东京的别处，也有一个电子奇才，他碰巧是个嗜好电子武器的义务警员。当两人互相引起彼此的注意时，一场无法避免的大战即将把整个城市点燃……几乎是对传统影像技术的颠覆和批判，浅野忠信在片中饰演的的人物，能操纵电流，和爬虫类动物对话。浅野忠信再次发挥自己的疯狂张扬的演技，把角色演绎成了一个热烈、颓废、压抑的狂徒。并足以向著名的《铁男》挑战。

　　小松左京の同名SF小説を原作に、超能力を持つ諜報員・エスパイたちの活躍を描く。当時の技術で、果敢に超能力を表現しようとする試みが光る。田村、マリア、三木の3人は、国連の秘密組織’“エスパイ”で働いていた。エスパイとは、超能力を悪用する逆エスパイと戦うための超能力者を養成する機関である。やがて、東西冷戦の要・バルトニアの首相暗殺計画をめぐって3人の活躍が始まる……。

　　有个惊吓过度的小女孩在沙漠游走，唯一吐出的只有一个字：怪物！任何50年代恐怖片迷都会马上告诉你，她所指的”怪物”就是巨蚁，那是在当地核子试爆后的副产品。这些巨蚁非常有组织，嗜肉且体型巨大，约有8到20呎，它们群聚在洛杉矶的下水道系统，彷若一个巨大的蚂蚁园区，准备好要接管这个世界。要和这些怪物对抗的人类精英是新墨西哥警署探员詹姆斯惠特摩，联邦调查局代表詹姆斯亚尼斯，和一对由埃德蒙关恩和乔安妮威尔登所饰的父女档昆虫学家。

　　British Army radiation drills at a remote Scottish base attract a subterranean, radioactive entity of unknown nature that vanishes, leaving two severely radiation-burned soldiers... and a "bottomless" crack in the earth. Others who meet the thing in the night suffer likewise, and with increasing severity; it seems to be able to "absorb" radiation from any source, growing bigger and bigger. What is it?? How do you destroy a thing that "feeds" on energy?

　　1945年,盟军突入德国,德国疯狂科学家李然博士研究的项目----科学怪人法兰克的心脏被潜艇秘密转移到了其同盟国日本的广岛陆军医院,供起研究出不死的士兵,然而核子爆炸使一切化为灰勁.十五年后,科学家在广岛研究核子放射能对人类还有环境的研究中,意外的发先了一个孩子,在检测 中发现其虽然受过核子放射能的照射,但一点都没有被污染,经过调查发现原来这个孩子在核子爆炸后迷一样的出现在广岛的英树医院(原广岛陆军医院),而且他还在不停的变大,所以科学家们推测当年的法兰克的心脏在受到了放射能的影响后,发生了异变,他们称其为广岛怪人法兰克.然而这时的法兰克已经变大到人们不可控制的地步,并且逃出了医院,另一方面,在秋田油田,出现了地底怪兽,最后两只巨大的生物在平原相遇,并进行了激烈的战斗,最后法兰克用火战胜了地底怪兽,然而与此同时一只大章鱼在悄悄的接近他.........

　　几十年来，科学家们一直在推测木卫二可能是除地球之外，太阳系中唯一一个有大量液态水存在的地方。因为木卫二的表面照片与地球海洋上的冰的照片相似，冰壳上布满了各种陨石撞击留下的坑坑洼洼，不少科学家推测，在木卫二的冰壳之下或许有着太阳系中最大的液态水海洋，海洋下面可能存在着有单细胞生命。而这一“生命可能”的理论正是电影《欧罗巴报告》的核心。