Seven men, all city-dwellers aged between 17 and 70, with nothing in common apart from the fact that they are all on the verge of a nervous breakdown, meet up at a lonely station for an unusual course in the wild that is supposed to get them back on their feet. Each step in this boot camp, designed by an eccentric and feisty female coach, aims to reveal them to themselves. The task seems to be a tough one, especially as nothing goes as planned between these men.

Crack-Up is directed by Irving Reis and collectively written by John Paxton, Ben Bengal and Ray Spencer from Fredric Brown's story Madman's Holiday. It stars Pat O'Brien, Claire Trevor, Herbert Marshall, Ray Collins, Wallace Ford and Dean Harens. Music is by Leigh Harline and cinematography by Robert De Grasse. Art curator George Steele (O'Brien) believes he has been in a train crash, but he's told that no such crash has occurred. Is he cracking up, or the victim of something sinister? I'm not trusting anyone this week. Out of RKO, Crack-Up is an above average film noir that is apparently under seen. It thrusts George Steele on a crusade to prove he is not losing his mind and on his way to residency at Bellevue Psychiatric Hospital. As he trawls around the city with a foggy head, his thoughts still remembering his service in WWII, he tosses off sarcastic quips and evades tricky situations with guile and ingenuity. Who can he trust though? If anybody? I'm outta my head. I drive around in cars picking up psychopathic killers. His journey encompasses a number of locations that are expertly born out for noirish purpose. Smokey steam train, dimly lighted station, a ship of many murky corners, the harbour as well, a penny arcade and of course many damp streets at night that are ripe for conversations; both hushed and threatening. With Reis (The Gay Falcon) and De Grasse (The Body Snatcher) using chiaroscuro effects, the atmosphere is suitably eerie, dovetailing perfectly with George's psychologically paranoid funk. About as smart as cutting my throat to get some fresh air! Set to the backdrop of the art world, the narrative has an opinion on art styles and snobbery while wrapping the plot around the crooked line of forgeries. It's not wholly successful for dramatic worth or intrigue, and in fact the visual presentation and very good performances of O'Brien and Trevor deserve a more cohesive story and a motive revelation of the crimes considerably stronger in substance. However, with its technical attributes most positive, some very well constructed scenes (the train crash sequence is excellent) and noir staples in place (amnesia, shady characters, sleuthing for truth et al), Crack-Up is well worth checking out.

女演员佩帕（卡门·莫拉 Carmen Maura 饰）得知自己怀有身孕，但是她的喜悦并未持续多久，因为她的情人伊万（Fernando Guillén 饰）突然失踪。佩帕想尽办法联系伊万，但最终一无所获，这令她歇斯底里，痛苦难耐。而就在这时，伊万的老婆露西娅（Juliet a Serrano 饰）又找上门来大找麻烦。不久，佩帕的好友坎德拉（María Barranco 饰）也因惧怕警察拘捕而寻求避难。一群精神濒临崩溃的女人凑在一起，上演令人唏嘘的悲喜剧…… 本片入围1988年威尼斯电影节主竞赛单元，最终获得最佳剧本奖；1988年欧洲电影节最佳青年作品和最佳女演员奖；1988年纽约影评人协会最佳外语片奖；1989年歌雅奖最佳女主角（Carmen Maura）、最佳剪辑、最佳剧本和最佳女配角奖（María Barranco）。

女演员佩帕（卡门·莫拉 Carmen Maura 饰）得知自己怀有身孕，但是她的喜悦并未持续多久，因为她的情人伊万（Fernando Guillén 饰）突然失踪。佩帕想尽办法联系伊万，但最终一无所获，这令她歇斯底里，痛苦难耐。而就在这时，伊万的老婆露西娅（Juliet a Serrano 饰）又找上门来大找麻烦。不久，佩帕的好友坎德拉（María Barranco 饰）也因惧怕警察拘捕而寻求避难。一群精神濒临崩溃的女人凑在一起，上演令人唏嘘的悲喜剧…… by:mingtian6.com

本尼迪克特·康伯巴奇将主演一部根据马特·海格的小说《如何静止时间》改编的剧集，小说讲述了一个看似正常的41岁男人汤姆，由于一种非常罕见的病症，几个世纪以来一直存活的故事。 Tom Hazard看起来像是典型的四十岁男子、一名普通的历史老师——只是除了他在课堂上讲述的两次世界大战、西班牙内战、女巫猎杀全是亲眼所见。出生于1581年3月3日，他已经活了四百多年。与生俱来的特殊状况，使他衰老的速度比常人缓慢，Tom每隔一段时间便得舍弃现有的生活，离开对他不变的外貌产生疑心的人群，移居到新的地方。这一次例行改换身份，他决定回到伦敦，因为他答应了早已死去的妻子，要找到他们的女儿——如果她也有相同的体质，也许尚在人世。 他确实不是唯一一个活了好几个世纪的灵魂。一个隐密的组织不择手段保护着和Tom一样的人，暗中提供协助，但安全同时意味着限制。“不要爱上任何人！”组织警告他们：“这是最重要的一条规则。……只要遵守这个规则，你就不会有事。”Tom曾以为他再也不会陷入爱情。但他不想再继续这样的人生了。厌倦了隐瞒和躲藏，他想活得像自己，而唯一的方法也许就是再次爱上一个人。

当美国第四大的投资银行濒临倒闭时，全美国最大的银行CEO们被召集到华尔街的会议室里，研究挽救美国经济的整体崩溃。而Merrill Lynch作为最大的房贷保险公司，为了自救，不得不将公司卖给了花旗银行，而整个市场意外的出现信用崩溃。华尔街的主席不得不向白宫政府求援。在获得700亿美元的紧急援救款的情况下，美国最大的几家银行机构CEOs，被迫接受了政府的注资，失去了对自己银行的完全控制。由于Merrill的巨额债务150亿损失，花旗银行发现自己莫名的被拖入破产的地步，在政府的强制干预下，额外200亿纳税人的钱汇入花旗银行，这个艰难的公司合并勉强的完成了。 当金融危机出现时，银行的不负责任成为了最大魁首，自09年1月，美国的银行系统被国家直接控股，美国经济已经不在是一个自由市场了。

London, the early 1950s. Born deaf, Mandy is mute for most of her childhood. As she reaches school age her family itself is in danger of breaking up. Christine, Mandy's mother, has heard of a residential school for the oral education of the deaf.

梁友奉子成婚后，遭遇丈夫大男子主义、懒惰自私，把家务育儿全推给她。从隐忍沟通到果断反击，即便面对求和、法院驳回也绝不妥协。分居两年后，她坚决离婚，挣脱丧偶式婚姻枷锁，带着儿子重启人生。摧毁感情的不是大事，而是日复一日的漠视与不担当。

Mackendrick introduced a new strain of realism into his films with this moving story of a deaf child whose refusal to reach outside her cocoon of silence traumatizes her middle-class parents and threatens to destroy their unstable relationship. The first in Mackendrick's trilogy about precocious and destructive children, Mandy is an absolutely fascinating melding of The Miracle Worker's semi-documentary theater and Brief Encounter's fractured and intensely first person melodrama of marital dissatisfaction.

由92个人的传记组成，这些人都是被VUE侵害的，所谓VUE是指未知的激烈事件，与鸟以及飞行有关的一种现象。