克?亜樹の長(zhǎng)壽ラブコメ漫畫を、人気グラビアアイドルの森下悠里主演で実寫映畫化した「映畫版　ふたりエッチ」「映畫版　ふたりエッチ　セカンド?キッス」に続くシリーズ第3作「トリプル?ラブ」と第4作「ラブフォーエバー」を、劇場(chǎng)公開用に1本にまとめた特別編集版。

　　受眾人追捧卻獨(dú)愛寵物狗樂樂“愛狗不愛人”的富家千金乖乖（吳昕 飾），想利用“全球名犬選美大賽”讓樂樂揚(yáng)名立萬(wàn)，請(qǐng)到擔(dān)任本次大賽評(píng)委的知名訓(xùn)犬大師“狗博士”何馬（何炅 飾）和寵物美容師韋加斯（李維嘉 飾）出馬，將“屌絲狗”樂樂一番包裝打造終于麻雀變鳳凰，終于在大賽中勝出的樂樂一夜暴富身價(jià)飛漲，卻不料遭到經(jīng)常掉鏈子的兩位忍者神偷坡姐（謝娜 飾）和薩嘟嘟（杜海濤 飾）的覬覦。于是五位古靈精怪的愛狗達(dá)人赴異國(guó)展開一段驚險(xiǎn)刺激的奪狗大冒險(xiǎn)……

　　郭達(dá)星憑借高超的球技和特異功能，在黑社會(huì)吳英雄的幫助下成為了大陸的臺(tái)球之王。吳英雄本想借著郭達(dá)星的名氣強(qiáng)行吞并其他小社團(tuán)，不想郭達(dá)星成名后完全沒把他放在眼里。氣憤的吳英雄設(shè)下計(jì)謀，請(qǐng)來香港臺(tái)球高手周斌贏走了郭達(dá)星的臺(tái)球之王的稱謂和全部財(cái)產(chǎn)，為防止郭達(dá)星東山再起還將他慣用的右手打斷了。

　　在并不遙遠(yuǎn)的未來，一套趨近真實(shí)的模擬系統(tǒng)得到開發(fā)，參加者進(jìn)入模擬系統(tǒng)后仿佛身臨其境。系統(tǒng)開發(fā)者湯姆·福特（西恩·菲利斯 Sean Faris 飾）及伙伴們不斷對(duì)其升級(jí)，更與軍方積極合作，進(jìn)行實(shí)景反恐演練。
　　某晚，湯姆和另外兩名伙伴將系統(tǒng)布置在一座廢棄的監(jiān)獄內(nèi)，此前，這座隸屬于英國(guó)政府的監(jiān)獄曾被用來拷問與911事件有關(guān)的恐怖分子，此地陰森恐怖的氣氛正好符合湯姆他們的需求。這群充滿童心的大男孩進(jìn)入系統(tǒng)，與虛擬的恐怖分子展開對(duì)抗。然而隨著游戲的進(jìn)行，一些原本系統(tǒng)中并不存在的情節(jié)開始出現(xiàn)。受到欲望的趨勢(shì)，這群年輕人耽于聲色暴力之中，并未對(duì)反常狀況引起警覺，殊不知危險(xiǎn)正悄悄向他們逼近……

　　Based on the novel by Karel Capek, the prominent Czech writer of the early 20th century who coined the word robot for his play R.U.R., the story revolves around a discovery of Krakatit - a powerful explosive - by Prokop, an experimental scientist who, following an accidental explosion in his lab, slips in and out of delirium. When he realises that, in a delirious period, he has given the formula for making Krakatit to one of his colleagues, he tries to find the man, who does not realize how dangerous a thing Krakatit is. In the process, he nearly gives his discovery away again to foreign interests, a group of anarchists, and even greater forces of darkness...

　　Wunder der Sch?pfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey.
　　In the context of Germany's Kulturfilm phenomenon, Wunder der Sch?pfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.
　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.

　　Post-nuclear-war dramas centering on a small group of survivors now constitute an entire genre in science-fiction films. All of them, in some way or another, can be traced back to this seminal film from 1951 in which five people deal with the possibility they are the only human beings left alive on the planet.
　　While most of the later movies exploited this possibility for B-movie thrills, "Five" adopts a quiet, contemplative tone which some may find dull but which thoughtful viewers are more likely to find, for want of a better word, haunting. There is something about this movie which gets under the skin and which lurks in the corners of the mind long after it's over.