波西·杰克逊与魔兽之海

　　经历了许多危险的旅程，在时空中与最可怕的怪物对决后，第十三任博士终于迎来了她最后的冒险，对抗她最致命的敌人: 戴立克、赛博人和她的宿敌——法师。
　　是谁在一个遥远的星系边缘攻击一辆高速行驶的列车？为什么地震学家从21世纪的地球上纷纷消失？那些失踪的世界名画究竟下落何在？为什么一个戴立克要主动和博士联系？在1916年的俄罗斯，妖僧拉斯普廷和沙皇尼古拉斯之间究竟发生了什么不为人知的故事？一重重威胁在博士面前展现，面对这场生死之战，她将何去何从……

　　Attempting to surpass his father's legacy, a reclusive neuroscientist becomes entangled in his own experiment, pitting ten fragments of his consciousness against each other.

　　特吕弗的第一部彩色片，也是其作品中最富社會及政治意識的一部。在未來世界裡，書籍一概被禁止，讀書便是犯罪，所有書籍都要交出焚毀。消防員的任務不是滅火救人，而是焚書和捕捉讀書人。於是有一些愛書者，把書背熟，希望日後可以流傳，這些人稱為「書人」。男主角本是一個忠心的消防員，焚書是他的職責。有次認識了一個女孩，受到她的影響，漸漸改變了人生觀，發現了書本中原來充滿了靈性的世界。經過這種溫馨親切的心靈生活，使她不能再忍受冷酷無情的機械社會。最後，他偷閱書本的背叛行為被妻子告發，他與情人設法逃往另一個符合他們理想的美麗世界，在那裡有書籍的存在，重複人類真正的生活。
　　改編自美國作家雷·布烈伯里的科幻小說。（電影雙周刊）」

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effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact.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