备注：已完结
类型：喜剧片
主演：乔斯琳·德波尔 多恩·路比 贝克·班尼特 尼尔·凯西 玛丽·霍兰 达茜
语言：英语
年代：未知
简介：这是一个没有暴力、温馨的地方，衣着光鲜的男女老少全都戴著牙套，公园的足球草场上，每张脸孔都是百分百微笑；豪宅的庭园派对里，每句话语都是百分百得体。在这个富而好礼的小社会里，所有人都那么和善，所有事都那么完美，也难怪吉儿不会知道，随手将自己可爱的孩子送给闺蜜，将为她带来多么意想不到的后果…… 美国资深即兴喜剧双姝联手把嘲讽开到“癫”峰，自编自导自演超激版《绝望主妇》，打造出一座艳彩斑斓的保守主义异托邦，狂喷城郊上流社区一切矫枉过正的文明怪病。碎嘴邻人八卦、比较儿女成就、拜金填充空虚，当物质表象成为绝对真理，看似荒诞爆笑的夸张情节，其实早在日常生活中如实上演。
备注：已完结
类型：剧情片
主演：Erik Heger Wyatt Ralff 杰里米·S·霍尔姆 詹妮
语言：英语
年代：未知
简介：凯尔库克是一个善良的小男孩和一个有天赋的棒球运动员。当他的父亲特德被解雇，被迫在一个新的州从事一份低水平的工作，仅仅是为了维持生计，凯尔和他的家人被迫离开舒适的郊区生活方式。泰德希望，一旦凯尔加入了当地的团队，他的适应会更容易一些，但当凯尔成为欺凌和裙带关系的受害者时，这些计划很快就落空了。泰德意识到如果凯尔继续留在当地联盟，他将永远没有机会实现他在12年历史的世界职业棒球大赛中打球的梦想，于是骗了凯尔一个办法，让凯尔进入对手区的球队。凯尔知道这是他唯一的一次投篮，他以被淘汰出全明星队的沮丧情绪为动力，成为全州乃至全世界最好的12岁球员。最终，他将在州冠军赛中面对他以前的球队，在那里他发现了他甚至不知道自己拥有的伟大。
备注：已完结
类型：喜剧片
主演：汤姆·克鲁斯 瑞贝卡·德·莫妮 乔·潘托里亚诺 理查德·马苏尔 布隆森
导演：保罗·布里克曼
语言：英语 / 德语
年代：未知
简介：高中生乔（汤姆·克鲁斯 Tom Cruise 饰）为学业所困扰，连春梦往往也以考试迟到作为结束，成绩不佳令他的大学前景堪忧，中产阶级父母则为他联系了普林斯顿大学的面试。在父母外出期间，乔与朋友们筹划赚钱项目，又因一场恶作剧阴差阳错结识了应召女郎拉娜，拉娜给予乔温存，却又把他卷入了一系列麻烦：家中失窃、皮条客驾车追逐……令乔焦头烂额，但在这诸多意外之中，乔与拉娜愈发亲密，并最终同意了拉娜的主意——在家中举办派对，通过为年轻人介绍应召女郎抽水盈利。于是家中无父母，屋宅变欢场，夜夜笙歌之时，普林斯顿大学的面试官突然到访，乔仓促应对，未知大学前途究竟如何？
备注：已完结
类型：剧情片
主演：Bob Dylan Joan Baez Judy Collins
语言：英语
年代：未知
简介："Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
