《美国梦魇》是美国著名B级片大厂Troma特罗马于1984年推出的力作。当时美国国内正深陷越战梦魇，电影界也涌现出一大批经典反战影片，比如《猎鹿人》《现代启示录》等。本片同样反映了战后创伤，讲述了一名越战退伍美国大兵的悲惨遭遇。

一对年轻夫妇遭遇入室抢劫和绑架，但他们对这起案件的叙述太过牵强，令警方都难以置信。为什么受害者看上去如此平静？难道这一切都是骗局？这部三集纪录片由《Tinder 诈骗王》的电影制作人打造，揭示了我们习惯性的草率判断所带来的后果，以及当执法部门认定真相为假时所需要付出的代价。

1818年，美国田纳西州红河镇，镇上颇有名望的贝尔家一家之长约翰（Donald Sutherland 饰）因土地纷争遭到女巫凯瑟•拜茨（Gaye Brown 饰）的诅咒。不久后，各种恐怖离奇的事件相继发生，且逐渐升级。最终，贝尔家最小的女儿贝特西（Rachel Hurd-Wood 饰）被鬼魂附体， 从她的口中发出非人的诅咒：“贝尔家族必须有一人要死”。 贝尔一家想尽一切办法驱逐恶灵，但无济于事。他们必须面临即将成真的恐怖诅咒，以及家族中被隐藏起来的丑恶的秘密…… 影片根据真实事件改编，是美国历史上唯一一起官方承认的冤鬼索命致人死亡的案件，曾有20多本著作专述此事。

这是斯塔顿总统（丹尼斯·奎德 Dennis Quaid 饰）这几年来头一遭翻开报纸，没想到，关于自己的负面新闻以排山倒海之势扑面而来，大受打击的斯塔顿顿时陷入了郁郁寡欢之中，行为举止也日渐怪异。作为斯塔顿的得力助手，萨特（威廉·达福 Willem Dafoe 饰）感到十分焦急。竞选在即，不断下跌的支持率让他所支持的这位竞选人离连任的目标越来越远。 为了力挽狂澜，无奈的萨特只得将斯塔顿搞到了目前最火爆的真人秀“美国梦”的特约评审席上。经过层层选拔，奥默（Sam Golzari 饰）和莎莉（曼迪·摩尔 Mandy Moore 饰）两名选手站在了斯塔顿的面前，而他们其中之一，竟然是危险的恐怖分子。谁将获胜，决定权在斯塔顿的手中，他的选择将直接关系到国家的安危。

暂无剧情简介

本片讲述的是发生在明尼苏达州工人大罢工，展现当时人们的种种心态，还有工会和公司进行谈判的全过程，以及工人发生的激烈冲突，但是这场大罢工还是没有结果。

讲述一对兄弟想要经商，找一个俄罗斯帮派的人贷了款，随后两人发现无法偿还这笔钱，找上门来的是……

每个人来美国之前，他的“美国梦”都是一种对美好生活的幻想，而来到美国之后，即使现实状况没有想象那么好，大部分人还不愿意从这个梦里边醒来。人们愿意在此遭罪，期待有一天实现自己的美国梦。

"... A description of the form of AMERICAN DREAMS is deceptively simple: along a narrow border at the bottom of the screen a handwritten transcription of Arthur Bremer's diary crawls from right to left; a series of chronological baseball cards from the career of Hank Aaron are shown in a steady cadence, first the front (usually a photo), then the reverse side (batting statistics, etc.). Finally, overtitles indicate by year the sources of the soundtrack's fragmentary speeches and songs. ... AMERICAN DREAMS is far from unrestricted in its horizons. A clear 'sense of the ending' is limited by two inevitable acts: Bremer will shoot Wallace; Aaron will break Babe Ruth's record. As a work energized by an autobiographical impulse, Benning nonetheless hides himself in the shadows of time. It isn't necessary to know that Bremer was Benning's neighbor in Milwaukee or that the filmmaker counts among his greatest achievements pitching batting practice to the Milwaukee Braves in 1962. As externally shaped and motivated as it appears to be, AMERICAN DREAMS is marked by a dark and self-conscious meeting of personal and public desires ...." - Paul Arthur, The Appearance of History in Recent Avant-Garde Film. American Dreams is chock full of concrete, discrete elements that comprise an American iconography of the past three decades. The film encourages a kind of perverse nostalgia for 'the good old days': Nixon's 'you don't have Nixon to kick around any more'; Elvis' response to questions about his gyrating style and the rumour that once he shot his mother; Patty Hearst's 'Tania' statement; Senator Ribicoff's reference to 'Gestapo tactics in the streets of Chicago'. All of which is punctuated by the music of the period and set against a composite image of Hank Aaron memorabilia (arranged chronologically, 1954-76, the span of the champion home-run hitter's major league career), and the sordid diary jottings of the would-be assassin, Arthur Bremer.