饥饿游戏2：星火燎原

　　在这部续集中，生产机械战警的泛消费公司掌控着底特律城的治安，警察们因薪水迟迟不能到位而举行罢工。凯恩（Tom Noonan 饰）旗下的犯罪集团依靠制造风靡各地的毒品“纽克”大发横财，社会治安极度败坏，到处是暴力事件。机械警察墨菲（Peter Weller 饰）追查毒品，将凯恩的制毒工厂捣毁，由此被凯恩团伙埋伏，惨遭肢解。与此同时，泛消费公司趁市政府财务困难，凭合同欲将城市行政纳入公司范畴，泛消费的新机械战警开发计划屡屡失败，于是请到心理学家菲克斯参与设计，菲克斯改动墨菲的命令程序使其无法如常工作，从错误程序摆脱出来的墨菲带领一干热血干警横扫凯恩总部，但是菲克斯却将凯恩改造成为巨大的机械战警，墨菲与凯恩的再次战斗不可避免……

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effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact.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