在英国，每天都有一队无偿的志愿者冒着生命危险去拯救完全陌生的人。这个系列讲述了这些平凡的救援人员的故事，他们正在做一些非凡的事情——放弃他们的空闲时间，为全国各地200多个皇家国家救生队工作，提供紧急救援服务。从英格兰北海岸到南部海岸,在度假胜地,港口,泰晤士河,志愿者无所不在并保证在接听到救援电话时第一时间整装待发。全年无休,无论天气。
暂无简介
上一集南茜将恶魔佛瑞迪（罗伯特•英格兰德RobertEnglund饰）的鬼魂封在了钢爪手套后，她举家搬出了艾姆街。男孩杰西（马克•佩顿Mark•Patton饰）一家搬了进来，自从杰西住进这座房子，他就不断的作恶梦，搅得他不得安生。一次偶然，杰西在地下室发现了南茜留下的钢爪手套，因此佛瑞迪的鬼魂得以逃脱封印。重获自由的佛瑞迪利用杰西的身体开始四出作案，尽管杰西努力控制自己想以此对抗佛瑞迪的控制，可是佛瑞迪的邪恶意识太强大了，杰西根本控制不了自己。当佛瑞迪将魔爪伸向杰西的女友莉莎时，这时候只有杰西才能挽救她，杰西最终能否战胜恶魔？
古びた写真館で店主を務める浜田秀夫()のもとに、ある日中年の男が現像をしにくる。「写真を見て驚かれると思いますが、他言しないでください。」男はそう言い残して去っていく。出来上がった写真を見て浜田は驚愕する。そこにはこの世のものとは思えないほど美しい若い女の裸体が写っていた。浜田は一瞬にして写真の中の女に心を奪われてしまう。まるで写真の中から自分に微笑みかけてくるような…。写真の持ち主の名は河合譲司()。彼は写真に写る女、ナオミ(古川いおり)の両親から、まだうら若い少女の時分に彼女を”購入”し、自分の理想とする女に育て上げて夫婦となる約束をしていた。時が経ち、ナオミは譲司の思惑通りに、まさに理想の女となった。しかし、好奇心旺盛な若い女が中年男に忠実でい続けられるはずもなく、若い男を度々家に招き入れるようになる。譲司は憤慨し、ナオミを家に閉じ込めてしまう。一方で浜田は、写真の中のナオミに対する想いが次第にエスカレートしていき、ついには写真の中に入り込みナオミへの愛を語り始めるのだった
一场突然而来的爆炸事件令香港富商殒命，牵引出贩毒者与反毒者之间的角力。贩毒集团继承人不惜一切制造社会混乱，为的竟是一个至善的理由﹖一个没有毒品的世界，原来竟比想象中更可怕、更混乱……谁来拨乱反正？
本片讲述了山村“手拉手”的朋友送来了两只兔子，城里五年级的孩子们都很兴奋。可是，面对新奇的生活环境兔子却病了，孩子们只能趁六一儿童节的时候把兔子送回山里。后来他们在山里意外的发现了“UFO”的踪迹，于是在一只百年老龟的启发下，城乡的孩子开始了一场探秘之旅......
故事讲述一个发生在2012年底，听起来很不靠谱的爱情童话：两个刚刚失恋且毫不认识的年轻人，因为一次偶遇，误打误撞的一起过了一晚。于是走到了一起，并一过就是50年。片尾，当老迈的男主角问女主角“咱俩的事靠不靠谱”的时候，女主角的回答50年没变：“不靠谱”……
杰出的数学家、粒子物理学家和宇宙学家深入探讨“无限”，讲述这个概念对宇宙产生的令人费解的影响
是米高梅公司以1994年的卖座电影"STARGATE"为蓝本延伸制作的电视影集；由因"MacGyver"(百战天龙)而扬名海外的RichardDeanAnderson领衔主演,其馀演员包括MichaelShanks,AmandaTapping,ChristopherJudge,DonS。Davis,TerylRothery以及CorinNemec等。1997年起在美播出第一季,并于全球30多个国家播映,反应热烈,今年(2008)已迈入第十季。星际之门是古老而先进的外星科技,利用扭曲时间和空间的虫洞(Wormhole)将物质于瞬间传送过宇宙。星际之门计划代号为52区,由乔治哈蒙少将指挥,直接向总统负责。基地位于科罗拉多州夏安山北美防空司令部下方,深达地下28层,是冷战时期为防核战而开凿所建。目前旗下共有25支SG小队。
在繁华都市的某个角落，有一家叫做“时光照相馆”的小店还在照常营业。虽然门庭冷落，但它背后其实由两个具有特殊能力的男人——程小时和陆光经营着。为了完成顾客的委托，陆光和程小时组队配合使用超能力进入照片，然而事情的发展却没能按他们所想的那样……
Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.