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海豚踢
讲述一个有天赋的运动员、10岁男孩卢克在经历了惨痛的失败后失去了对水的热情，在一场急需的家庭旅行中，他在巴哈马一个美丽度假胜地遇见了一只好奇又友好的海豚，他们在一起的时光改变了各自的命运，创造了一种永恒的纽带。
导演：Philip Marlatt 主演：TylerJadeNixon/AxleMcCoy/TravisMcCoy/MayaSimmons/DeVaughnGow/AlexisLouder/QuddusNewton/TimOgletree/LaVaughanHamilton/TomiiCulmer/JordanPedreira/ErinReign/MatthewScottMiller
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本是父女的老范与小翠因长时间不见而产生了距离感，老范得知女儿在另一个城市被欺负，不顾身体的不适火速赶到女儿的身边，与此同时女儿小翠与丈夫胡威遭遇唐大施的欺骗，老范决心帮助女儿女婿化解危机，通过朋友的帮助让骗子唐大施受到法律的制裁。老范与小翠经历这一系列遭遇，使得小翠与父亲拉近距离，体会到父爱如山的意义，并与胡威一起脚踏实地开始新生活。父亲对女儿深深的爱，让迷茫的女儿重新找到生活的方向，认清一些不切实际的“梦想”，在当今快节奏的社会里，人们往往忽略了父母的老年生活是多么的孤单，而真正对我们好的人还是自己的父母。希望年轻人关注父母的生活，常回家看看，树立正确的人生观，价值观。
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◎6.9▶荣耀六十年1938
Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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