战地记者麦特·艾尔曼（塔莫·潘尼凯 Tahmoh Penikett_dollhouse 饰）结束了多年在枪林弹雨中穿梭的危险生活，决定选择安静的生活。在新加坡某个狂欢派对上，麦特打算向女友杰希·麦卡兰（劳拉·范德芙特 Laura Vandervoort 饰）求爱，却遭遇一场突如其来的惨祸，二人双双死于人肉炸弹制造的爆炸中。不知过了多久，麦特再次醒来，却发现自己到了一个奇怪的空间。经过一条湍急的河流，他遇到众多死于爆炸之人，其中很多老者都恢复了青春容貌。短暂的诧异过后，麦特决心寻找失踪的杰西，在接下来的神秘旅途中，他遭遇无数奇怪之事，更见到了诸多历史上的著名人物。这一过程中，真相也渐渐浮出水面……                                                                      　　本片根据同名小说改编，并被科幻频道拍成四集迷你剧集。

波特（约翰•卓佛塔配音）绝非一只普通的狗。在被女孩佩妮（麦莉•赛勒斯配音）带回家后，波特被她的父亲改造成一只“超级闪电狗”。它有强化的骨骼、风驰电掣的速度、无穷的力量。它要和佩妮一起去拯救被“绿眼人”绑架的父亲。波特靠着它的力量，战胜了无数强敌。

一转眼，克里斯托弗（Brady Bluhm 配音）就到了上学的年龄，要去学校报到了，这也就意味着，他必须离开森林，离开森林里的朋友们了。克里斯托弗写了一封信给动物们作为临别留言，然而，动物们却误解了信上的内容。它们以为克里斯托弗遇到了麻烦急需帮助，一拍即合之下，动物们踏上了营救克里斯托弗的旅途。 　　憨厚可爱的小熊维尼（吉姆·库宁斯 Jim Cummings 配音）、活泼开朗的小猪皮杰（约翰·菲尔德 John Fiedler 配音）、聪慧好动的跳跳虎（保罗·温切尔 Paul Winchell 配音）、德高望重的猫头鹰（Andre Stojka 配音），在未知的远方，会有怎样有趣而又刺激的故事正在等待着它们呢？

A family with buried secrets reunite at a farmhouse after two decades to pay for their past sins.

一辆老式汽车载着三个性感美丽的女子在荒无人烟、热气腾腾的无边沙漠中肆意奔驰。她们是女囚卡梅洛（阿美莉嘉·奥利沃 America Olivo 饰）、OL职业装赫尔（艾琳·库明斯 Erin Cummings 饰）、脱衣女郎特里克茜（朱丽娅·沃斯 Julia Voth 饰），这三个身份各异的女子走到一起，只为一颗价值200万美元的钻石。钻石属于心狠手辣的黑帮老大盖奇（迈克·赫斯特 Michael Hurst 饰），当然，这三个蛇蝎美人用更加毒辣的方法让他吐露了钻石的埋藏地点。她们虽然找到藏宝所在，却不知是谁走漏了消息，黑白数股势力接连向她们袭来。猜疑、恐慌旋即在这临时组合的三人中间蔓延，惨烈的争斗不可避免，谁会是笑到最后的那个人？

Andrew, (Eugene Simon) on a quest to uncover hidden truths about his family history, provides a top-secret agency with his DNA in order to discover his ancestry. It's revealed that not only does Andrew have unlocked superhuman powers within his DNA but his grandparents previously participated in a government program that tried to influence human senses. He joins the program onl...

波特（约翰•卓佛塔配音）绝非一只普通的狗。在被女孩佩妮（麦莉•赛勒斯配音）带回家后，波特被她的父亲改造成一只“超级闪电狗”。它有强化的骨骼、风驰电掣的速度、无穷的力量。它要和佩妮一起去拯救被“绿眼人”绑架的父亲。波特靠着它的力量，战胜了无数强敌。当然，这一切只是在大屏幕上。实际上，波特与佩妮只不过是一起演出一部戏剧。波特并没有什么超能力，但它坚信自己的力量是真实的。一次拍摄后，混淆了真实与戏剧的波特冲出牢笼，要去大街上拯救佩妮，而它无法预知到，它将面临一个没有超能力的真实又危险的世界。

最異想天開的黑人詐欺喜劇，一對兄弟檔走投無路到想打劫上帝！雅各是一位自以為是的行騙光棍，某日，他與食古不化的兄弟凱恩在黑幫追殺下，竟跑去破敗教堂尋求庇護。沒想到竟心生歹念，企圖行騙教士、詐取錢財，以湊足積欠黑幫的鉅款。此時，凱恩意外愛上美麗的教會秘書，計畫因此有變數，這場鬧劇會如何收尾呢？

Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

《高飞家族》里的 Goofy 与 Max 父子在本片搭档演出，Max 已是一个十足的青少年，他想与学校的女同学去参加舞会，不料老爸却强拉他一同去钓鱼，代沟的冲突使得这父子关系面临考验。本片当初以“电影版卡通”小品作品之姿，居然开创出三千五百多万美金的票房，而成本不过是相等长度的电视卡通而已，获利力之高真是让人颇为意外。本片的主题其实还蛮发人深省的，是在探讨亲子两代间的一些代沟问题，不单纯只是一部搞笑片，虽然以夸张的卡通式表现手法，呈现的却是亲子情感细腻的一面。尽管“电影版卡通”由于成本的限制，制作手法没办法像“经典动画”那样的精致，但是本片故事情节的安排非常不错，歌曲更是耐听！难怪该组制作人马在本片小兵立大功后，就被迪士尼由电视动画部门升格成为电影制作部门了！他们第一部动画电影作品就是1999年的《泰山》！