本剧与《星际迷航：第二期》（原来称为”星际迷航：新旅程“）是同一个制作组的作品，本来是作为ST四十周年的纪念礼物，得到了大批原ST官方剧集的演员的加盟，所以在演员、演技的问题上大大胜出其他诸如《第二期》、《无畏号》、《隐蔽边疆》等著名粉丝剧集。本剧曾向哥伦比亚广播公司（CBS）争取特许权（就是让官方承认为正式剧集），如果成功的话他们将以发行DVD或收费下载的方式来作商业运行，但最后在本剧的官坛上发布的消息却是继续免费发布，显然未得到CBS的许可。 　　以下文字译自IMDB： 　　“现在是2306年...自从詹姆斯·柯克船长为救进取号B的船员而被异能场吸走之后，已经整整过去十二年了。不幸的是，仅仅在此一年后，蒙哥马利·史考特中校也被宣告与Jenolen号的船员一起失踪，直到现在仍未被找到【注：这个事情的结果在TNG里有交代】。进取号的其他船员已经各奔前途。为争取星联与克林贡帝国达成和平，史波克上校和麦考伊医生在Khitomer星上度过了最后的几年，尽管他们还不知道究竟能否让二者实现和平。光·苏鲁舰长与精进号的船员们则在α 象限的外围空间里执行一个延期的任务。帕维尔·契诃夫上校被安排在星际舰队的安全部门任职，他感觉自己的职业生涯停滞不前，于是在考虑退休。Nyota·乌胡拉上校则一直都在担任星际舰队语言学部门的主任，一个她觉得很有意思的职位，不过她总觉得生命中也许少了点什么。现在，在他们的第一次任务的四十年后，契诃夫和乌胡拉、以及约翰·哈里曼 ——进取号B的前舰长、走到了一起，为一艘特别的船举行典礼仪式【怎么个特别法，你看截图2就知道了】，然而，他们的团聚是短暂的，因为他们接到了从一个极为熟悉的行星上传来的痛苦的呼救信号，在那里他们意外地看到了一张几乎已经被遗忘了的脸，但在那一瞬间一些事情发生了，这三个朋友被迫卷入了一个将永远改变他们三人命运的任务中......” 　　本剧给人的总体感觉应该是所有非官方ST剧集中最接近官方剧集的，如果不提示的话一定会被误认为是官方剧集。但本剧在IMDB上的得分只有为6.3，比《第二期》还低0.1分，不过比《隐蔽边疆》的4.9分高不少，个人认为如果就把它当作ST四十周年的一个非官方纪念版还是很不错的，推荐自认是铁杠ST迷的人必看，如果不是可以无视。

《人与神像》 成全编剧，王刚导演，金石美术设计，李者、孙利民、王刚动作设计，段浩、董永峻绘景，马伟业、刘湘辉摄影，吴大明作曲。 　　影片根据古代寓言故事改编而成，影片通过樵夫和小民两个不同人物对神像的不同态度，说明了妖由人兴，那些土木衣冠不过是一些泥胎偶像罢了。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

在某户武士家庭，腿脚不便的庄司佐之助（仲代达矢 饰）白发苍苍。当年哥哥成为家族的当家者，而佐之助变成了尴尬的寄食者，头靠在哥哥门下度过了大半生的…

http://cinefreak.org/226825-parbaj-1961

卡罗琳·费伊夫人（艾莉森·杜迪饰）遇到了范恩·布雷肯勋爵（本尼迪克特·泰勒饰）并被他所吸引。当她发现他被指控犯有他没有犯下的谋杀罪时，她开始试图证明他是无辜的，并在他的家族城堡中担任他母亲的伴侣。她发现布雷肯家族不仅拥有丰富的土地和财富，而且隐藏在城堡墙后的秘密也非常多。

卡罗琳·费伊夫人（艾莉森·杜迪饰）遇到了范恩·布雷肯勋爵（本尼迪克特·泰勒饰）并被他所吸引。当她发现他被指控犯有他没有犯下的谋杀罪时，她开始试图证明他是无辜的，并在他的家族城堡中担任他母亲的伴侣。她发现布雷肯家族不仅拥有丰富的土地和财富，而且隐藏在城堡墙后的秘密也非常多。

时间是西元2040年。罹患罕见疾病的青年·怜人，在与青梅竹马绘理沙相约再会之后接受了冷冻睡眠治疗。过了5年后，怜人醒来之后等待他的却是全世界99.9%的…