介绍：爱情事业两得意的麦可（Neil Patick Harris 饰）完全是人生胜利组，身边有家人的强力支持，也不缺知心好友陪伴生活中的一切原本都很完美，麦可原以为会和交往 17 年的男友柯林（Tuc Watkins 饰）厮守终身，结果对方却选择在他 50 岁前夕突然结束这段关系，感到不知所措的麦可，必须以中年单身男同志的身份继续在纽约市走跳，并试着重新找回自己的生活重心，而他也将呈现中年失恋如何经历心碎到疗伤的过程。

介绍：当从曼哈顿搬到高尚住宅区斯戴佛之后，乔安娜（妮可•基德曼 饰）与丈夫（马修•布罗德里克 饰）都准备好了新生活的开始乔安娜本想打好与邻居之间的关系，可是一众邻居太太的性格都将近完美，让乔安娜感到她们都无法靠近。这群有钱的太太中只有一名叫芭比的太太例外，她是乔安娜眼中的正常人，她俩也成为了好友。　　其他太太们每天都忙着照顾自己的丈夫，对丈夫言听计从。乔安娜与芭比都感到十分好奇，为何邻居太太们似乎没有自己的脾气与喜好。　　于是她们决定一查究竟，调查结果让她们惊讶不已，有钱的男人竟然把自己的太太变成了机器人，以求他们的妻子都千依百顺。这些一半人类一半机器的太太们背后有着“公开的秘密”，这样的黑手，也逐渐伸向乔安娜与芭比，她们将如何应对呢？

介绍：佩吉（莫伊拉·希勒 Moira Shearer 饰）是一名很有天赋的芭蕾舞演员，她对芭蕾舞的热爱让她觉得她生来便是为了舞蹈她参加了芭蕾舞剧《红菱艳》的演出，在剧中，她扮演那个穿上红鞋一直舞蹈到死的舞女，她的演出获得了业界的一致好评，她的演艺事业就此扶摇直上。之后，她结识了作曲家朱利安（马留斯·戈尔林 Marius Goring 饰）并且迅速坠入了爱河。为了所爱的人，佩吉放弃了自己的事业，但婚后平静的生活令她无法忍受，似乎总有一种魔力在召唤她穿上舞鞋翩然起舞。佩吉听从了内心的召唤，她离开了朱利安重新回到了舞台，但渐渐的，她想起了自己曾经扮演过的那个穿着红鞋的舞女，她觉得她们的身影正在慢慢重叠，不安的佩吉猛然醒悟，自己生命中最重要的并非舞蹈而是家庭，她冲出剧院想要重拾朱利安的爱情，但一辆火车从天而降，终结了她年轻的生命。　　影片荣获1949年奥斯卡最佳配乐及最佳艺术指导奖。

介绍：哈利·弗路得婚礼快要进行了，结果发现未婚妻在和别人疯狂做爱无奈，哈利·弗路得的铁哥们博勒加德·彭伯顿宣布：婚礼取消。但已经定下来的海岛蜜月游无法取消，于是哈利·弗路得决定和博勒加德·彭伯顿一起去旅游。在海岛上，两人无意中介入到一起贩毒案件中，甚至差点被毒贩杀死。幸亏博勒加德·彭伯顿机智聪明，加上FBI在毒贩中安插的内线，终于顺利破案。

介绍：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor