備注：已完結
類型：恐怖片
主演：Bobbi Salv?r Menuez Amandla Stenber
語言：英語
年代：未知
簡介：Heather, an outcast teenage goalie in a small northern town, falls for newcomer Jonny, an alluring but tormented figure skater. As their relationship deepens, Heather’s growing desires clash with her darkest secret, forcing her to control the animal within.
備注：已完結
類型：動畫片
主演：JonahBobo JeffFoxworthy RebaMcEntir
導演：JimKammerud
語言：英語
年代：未知
簡介：本片是迪士尼1981年出品的《狐貍與獵狗》的外傳，故事回到了小狐貍陶德與小獵狗小銅的小時候。當時陶德（喬納什·波波 Jonah Bobo 配音）與小銅（Harrison Fahn 配音）已經成為十分要好的朋友，每當小銅覺得自己一無是處的時候，陶德總會鼓勵它重拾信心。一天，一個由獵狗組合成的表演團來到此地，這讓小獵狗小銅簡直樂翻天，他不但認識了許多跟自己同類的狗朋友，甚至還發(fā)掘了自己的表演天份。然而隨著庫伯越來越走紅，陶德開始心懷妒忌，覺得自己被忽視了。而想要跟著表演團遠離家鄉(xiāng)四處去巡迴表演，面對這樣的情況，陶德要如何留住好朋友呢？陶德和小銅的這段友誼再次受到考驗?！ ”酒?006年的年底在美國推出上市，本片是以直接發(fā)行影音產品的方式發(fā)行。
備注：已完結
類型：動畫片
主演：艾麗西亞·希爾維斯通 阿什麗·辛普森 山姆·威特沃 KiraBuckl
導演：邁克·迪薩
語言：英語
年代：未知
簡介：狗狗普沙克一直夢想著能像父母一樣成為進 入太空的宇航員，但母親貝卡認為進入太空太過 危險，所以不僅不允許兒子成為宇航員，自己也 和好朋友絲翠卡重新回到馬戲團演出。 與此同時，地球上出現(xiàn)了一股神秘信號光 束，將地球上的建筑雕像、汽車、輪船以及人們 的物品全部吸入太空，普沙克的爸爸卡茲別克奉 命乘坐火箭到月球調查這束神秘光源，誰知卡茲 別克到達月球后就與地球失去了聯(lián)系。為了尋找丈夫和爸爸，貝卡和普沙克分別乘 坐從俄羅斯、美國發(fā)射的火箭來到月球，不僅解 開了神秘綠色光束的神秘面紗，也找到了失蹤已 久的卡茲別克。
備注：已完結
類型：劇情片
主演：BobDylan JoanBaez JudyCollins
導演：MurrayLerner
語言：英語
年代：未知
簡介："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.
