人稱補習天皇的李白因醜聞而被逐出自己一手創立的補習社，同時被太太滿兒提出離婚。多年的打拼，回望自己的人生，想起最不想面對的人，父親李世豪…他是香港的傳奇教育人物，在坪澳灣建立了一所「大地小學」，崇尚另類教育，教育李白與不少學生純樸原始的大自然生活。可惜，李白並沒有為父親而自豪。自小跟著世豪在鄉郊生活，猶如一個野孩子，在世豪的口中，李白的媽媽竟然是大明星!有一次，李白出走市區尋找母親，當然發現一切都只是謊話。自此李白決定離開坪澳灣，後來與好兄弟顏家棟建立補習王國，走上與世豪截然不同的道路。

人稱補習天皇的李白因醜聞而被逐出自己一手創立的補習社，同時被太太滿兒提出離婚。多年的打拼，回望自己的人生，想起最不想面對的人，父親李世豪…他是香港的傳奇教育人物，在坪澳灣建立了一所「大地小學」，崇尚另類教育，教育李白與不少學生純樸原始的大自然生活。可惜，李白並沒有為父親而自豪。自小跟著世豪在鄉郊生活，猶如一個野孩子，在世豪的口中，李白的媽媽竟然是大明星!有一次，李白出走市區尋找母親，當然發現一切都只是謊話。自此李白決定離開坪澳灣，後來與好兄弟顏家棟建立補習王國，走上與世豪截然不同的道路。

Alexandro行星的王族皇太子和侍从为了避开叛军的眼线而躲藏在宇宙飞船中，由于宇宙飞船出了故障而迫降地球。修理宇宙飞船的同时，决定在地球上停留直到叛军的政变被镇压为止的两个人，变成地球人的样子并开始地球人美好的生活。　　另一方面，因为按错了按钮而变成了有2%缺陷的地球人的模样，成为地球学校的花美男老师峰泉，很受孩子们的喜爱。但是自称学校人气王的体育老师裴英焕，以及班上的学生，峰泉所寄宿的家庭的儿子海龙，因为峰泉的存在而很不高兴……　　围绕幸福小学2%不足的外星人老师峰泉与天真烂漫的地球人孩子们的小吵小闹的故事就此展开！

soraの同名マンガをもとにした本作は、無気力でギャンブル中毒の“クズ教師”・灰葉仁（はいばじん）と成績優秀なネガティブ女子高生・落合扇言（おちあいみこと）の関係を軸に描かれるローテンションラブコメディ。失恋を苦に学校の屋上から飛び降りようとしていた扇言に、灰葉が「死ぬ前に俺と恋愛しない？」と言って自殺を思い止まらせたことから物語は展開していく。

林夏穿越到原始时代，觉醒了文明系统，还意外和部落首领苍春风一度，怀了四个崽且崽崽头上会冒出熊猫耳朵？不管了，林夏撸起袖子利用系统大展拳脚，帮助野人进化生存，这时，苦苦寻找幼崽七年的兽人老公苍找上门来。

史前时代，某山洞野人家庭发生了战争，外表强壮却懒于觅食的丈夫布罗格被更为强悍的妻子奥拉打出家门，无奈之下，他只得在丛林中四处游荡。没走多远，布罗格便感到腹中空空，饥肠辘辘，他想尽办法觅食，然时运不济，接连遭受各种挫折。肚子没填饱，反倒弄了一身伤。 　　入夜，大雨瓢泼而下，又冷又饿的布罗格带着一颗椰子向家走去。这时他却发现，一头身形巨大的恶熊正在洞口，准备袭击奥拉。布罗格不顾一切冲了过去……

史前时代，某山洞野人家庭发生了战争，外表强壮却懒于觅食的丈夫布罗格被更为强悍的妻子奥拉打出家门，无奈之下，他只得在丛林中四处游荡。没走多远，布罗格便感到腹中空空，饥肠辘辘，他想尽办法觅食，然时运不济，接连遭受各种挫折。肚子没填饱，反倒弄了一身伤。 　　入夜，大雨瓢泼而下，又冷又饿的布罗格带着一颗椰子向家走去。这时他却发现，一头身形巨大的恶熊正在洞口，准备袭击奥拉。布罗格不顾一切冲了过去……

野人考察研究所根据青年司机何猜在三十五号地区遇到野人的报告，迅速成立了考察队。这支队伍在古树参天、藤缠蔓绕的莽莽密林里，冒着种种危险，寻觅野人踪迹。然而，由于第一次'野考'时发生的倪教授被害一案疑云未消，致使这次考察一开始便接踵发生几起神秘事件队长谭德与摄影师古川总是心照不宣地互相窥视。终日愁眉锁眼、思念亡父的倪琴对传言父亲是被自己的恋人孟琪所害百思不解，而对古川的一举一动总持有戒心。古川发现野人，野人仓皇逃跑，与倪琴正好相撞。倪琴先是惊叫一声，猛然又觉得野人长相酷似孟琪。这一件件怪事，像乌云一样笼罩着考察队驻地。一天，倪琴去林中拉琴，突然发现野人。她紧追不舍，终于辨认出野人确是孟琪。孟琪悲怆地告诉倪琴谭德为窃取教授的研究成果，将教授撞下山林，险些丧命。教授因吃了孟琪端去的草药后暴死，谭德便一口咬定孟琪有意谋害教授。他有口难辩，被逼得跳下悬崖。死里逃生的孟琪为找到教授的遗物--一个日记本来证实一切，终于变成了令人毛骨竦然的'野人'。听着孟琪的诉说，倪琴泪流满面，伤感至极……这一切，全被躲在树丛后面的司机何猜看到。倪琴的突然失踪使考察队员十分焦急。正在林中与古川斗智的谭德闻讯赶 ...

In 1996, with his public image at a low ebb after a messy breakup with Mia Farrow, clarinetist and filmmaker Woody Allen set off on a tour of Europe with his New Orleans jazz band. Accompanying him were his sister, his soon-to-be wife Soon-Yi Previn, and Oscar-winning documentary maker Barbara Kopple. Like Allen says as the beginning of the tour, "Theoretically, this should be fun for us." 　　Woody Allen has always been more widely appreciated in Europe than in the U.S., so it's no surprise that the concerts quickly provoke the kind of fan hysteria usually reserved for rock stars. This star however is clearly not comfortable with his fame. Whether he's giving a tour of his lavish hotel suite or prodding at an unexpectedly dry omelet, the director seems profoundly ill at ease and sometimes--when trapped by a crowd or harassed by a particularly persistent photographer--he appears to be both frightened and angry at the way celebrity shapes his life. The pressure to be funny on cue is the bane of any comedian's life, of course, and for Allen the seemingly endless round of receptions and parties is something to be endured, not enjoyed. In the face of this, the mutual support and affection shared by Allen and the woman he introduces as "the notorious Soon-Yi Previn" comes across as both genuine and absolutely necessary. When they are together, he is at his funniest, and his least guarded. 　　What persuaded such a private artist to allow such a documentary to be made? Perhaps it was a desire to celebrate his love of music, something that appears to sustain him as much as his relationship with Soon-Yi. He may refuse to bob his head and tap his feet to please his audience, but when he launches into a soaring solo we finally see Allen at ease, transported by the thrill of playing jazz. --Simon Leake

In 1996, with his public image at a low ebb after a messy breakup with Mia Farrow, clarinetist and filmmaker Woody Allen set off on a tour of Europe with his New Orleans jazz band. Accompanying him were his sister, his soon-to-be wife Soon-Yi Previn, and Oscar-winning documentary maker Barbara Kopple. Like Allen says as the beginning of the tour, "Theoretically, this should be fun for us." 　　Woody Allen has always been more widely appreciated in Europe than in the U.S., so it's no surprise that the concerts quickly provoke the kind of fan hysteria usually reserved for rock stars. This star however is clearly not comfortable with his fame. Whether he's giving a tour of his lavish hotel suite or prodding at an unexpectedly dry omelet, the director seems profoundly ill at ease and sometimes--when trapped by a crowd or harassed by a particularly persistent photographer--he appears to be both frightened and angry at the way celebrity shapes his life. The pressure to be funny on cue is the bane of any comedian's life, of course, and for Allen the seemingly endless round of receptions and parties is something to be endured, not enjoyed. In the face of this, the mutual support and affection shared by Allen and the woman he introduces as "the notorious Soon-Yi Previn" comes across as both genuine and absolutely necessary. When they are together, he is at his funniest, and his least guarded. 　　What persuaded such a private artist to allow such a documentary to be made? Perhaps it was a desire to celebrate his love of music, something that appears to sustain him as much as his relationship with Soon-Yi. He may refuse to bob his head and tap his feet to please his audience, but when he launches into a soaring solo we finally see Allen at ease, transported by the thrill of playing jazz. --Simon Leake