A series of self contained television movies starring performers from London's "Comic Strip" comedy club and their friends. Noted for a high sense of parody of previous movies, literature, and generally everyone in sight.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

改编自同名漫画，描绘了只知道漫画、对恋爱一窍不通的漫画家刈部清一郎（铃木），和接近30岁、总招到烂桃花的女子久远爱子（吉冈）之间的浪漫喜剧。

刈部清一郎（铃木亮平 饰）是一名天才少女漫画家，创作出许多部让读者内心怦怦跳的出色少女漫画作品。然而，躲在笔名背后的他竭力隐瞒着自己的真实身份，他的感情经历和生活轨迹对于读者们来说是一个巨大的谜团，清一郎也从来不会雇佣助手，一直都过着单打独斗的生活。某一日，一个名叫纯的孩子走进了清一郎的生活，他的存在彻底改变了清一郎的世界。 　　久远爱子（吉冈里帆 饰）是殡葬公司的职员，让她没有想到的是，有朝一日，她竟然要去操办自己初恋情人的葬礼。在机缘巧合之下，爱子和清一郎相遇了，爱子成为了清一郎的“恋爱调查官”，在清一郎的指令下体验各种不同的恋爱经历，收集情报，提供给清一郎用以创作。

Gordon, 28, an aspiring animator, leaves his home in Oregon to sell his ideas to Hollywood. After being told, correctly, that they are quite possibly the most stupid ideas ever and that he needs to spend time rethinking them, he moves back home. But his father, never a kind man, escalates his mean treatment of his rather unconventional son. Meanwhile, Gord has fallen for Betty, an attractive doctor at the hospital where his friend is staying; she happens to use a wheelchair, and to delight in having her paralyzed legs beaten with a bamboo cane; her sexual aggression intimidates him. Gord's family goes to a psychiatrist, and he lies to her that his father molests Gord's brother, Freddy; Gord neglects to mention that Freddy is 25. Soon, Gordon has the house to himself, and comes up with a winning animated series, "Zebras in America" based on his own family. All this is really a framework on which Tom Green hangs his usual crazy stunts. 　　 　　Tom Green plays Gord Brody, a slacker who dreams of becoming an animator for cartoon shows. He is forced to move back in with his parents, but then refuses to leave. Along the way, he sexually pleasures various farm animals, licks open flesh wounds, accuses his father of molesting his brother, goes scuba diving in a toilet, plays an organ with several sausages attached to it which are suspended in midair, and does a bunch of other stuff that is too insane, offensive, disgusting, or weird to be mentioned here. 　　 　　好食懶飛搞搞震，氣得父親“紮紮”跳 ！電視搞笑高手湯格連自編自導自演處女作！ 　　 　　終日游手好閒，已經廿八歲了，一直夢想成為荷里活卡通片動畫大師的葛，終於有機會一嚐夢想的工作，但只是暫時性，跟著又跑去芝士工廠做無聊的工作。最後，葛決定回到家去，但父親占士則希望他能長大成熟點，搬離他們，像弟弟法迪般，找一份像樣的工作。葛與父親占士因此事展開父子大戰，葛想出不少古靈精怪的方法來氣父親，弄得占士七竅生煙，使人捧腹大笑……

基于费城堕胎案柯米特·戈斯内尔博士的故事。

基于费城堕胎案柯米特·戈斯内尔博士的故事。

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