Filem Ahmad Albab mengisahkan di sebuah negara yang bernama Entadiman, tinggal seorang hartawan bernama Mashood (A.R Tompel). Dia sangat sombong, takbur, bakhil dan tidak percaya bahawa kekayaannya itu datang daripada Allah. Dia menyangka kekayaan hanya datang dari manusia yang bijak sepertinya sahaja.

Mashood mempunyai tiga orang puteri yang cantik jelita – Suhara (Mimi Loma), Mastura (Saloma) dan Zahara. Oleh kerana Mastura sering tidak sependapat dengan ayahnya, dia dinikahkan dengan seorang gembala kambing bernama Syawal (P. Ramlee) sedangkan Suhara dan Zahara dinikahkan dengan anak orang-orang kaya.

Pada suatu hari, sedang Syawal mencari kambingnya yang hilang di sebuah gua, dia terjumpa harta yang sangat banyak. Apabila dia hendak mengambil harta tersebut, muncul Jin yang menjaga harta itu lalu memberitahunya yang harta itu adalah kepunyaan Ahmad Albab. Syawal sangat bingung memikirkan siapakah dia Ahmad Albab?

Bagaimanakah kisah yang akan terjadi seterusnya… Filem Ahmad Albab diarahkan oleh Tan Sri P. Ramlee.

Pelakon: Tan Sri P. Ramlee, A.R Tompel, Saloma, Mariani, Mimi Loma, Karim Latif, Tony Azman.

Filem Anak Bapak mengisahkan Che’ Harun (P. Ramlee) ialah seorang pengurus ladang getah kepunyaan bapanya sendiri. Dia seorang yang boros berbelanja dan sering ketiadaan wang. Walaupun sikapnya begitu, namun dia juga adalah seorang pengurus yang baik hati dan amanah. Untuk melepaskan sikapnya yang suka berfoya-foya di kelab malam dia banyak berhutang dengan ceti.

Di kelab malam yang selalu dikunjunginya dia berkenalan dengan Che’ Normah (Ruminah Sidek). Bagi menjelaskan hutang-hutangnya, Che’ Harun terpaksa berbohong dengan bapanya Dato’ Mahfuz (A.R Tompel) dengan menyatakan yang dia memerlukan wang untuk melangsungkan pernikahan. Dato’ Mahfuz yang tinggal berjauhan daripada anaknya sememangnya sudah lama mendesak Che’ Harun supaya berkahwin. Mendengar berita gembira tersebut, Dato’ Mahfuz tidak berfikir panjang lalu terus mengirim wang yang banyak kepada anaknya.

Sementara itu, Dato’ Mahfuz yang sering terganggu kesihatannya telah dinasihatkan doktor supaya berehat dan bercuti di luar. Dia mengambil keputusan untuk pergi ke Kuala Lumpur ditemani jururawat yang selalu menjaganya iaitu Halimah (Rose Yatimah). Sambil berehat dia juga ingin bertemu anak dan menantu barunya. Ketibaan bapanya menyebabkan Che’ Harun menjadi serba salah kerana dia sebenarnya masih belum bernikah dan ini menyebabkan dia menjadi kelam kabut dan dia terpaksa meminjam isteri pemandunya Salleh (Ibrahim Din) untuk berlakon menjadi isterinya…

Apakah kisah yang akan terjadi seterusnya… Filem Anak Bapak diarahkan oleh Tan Sri P. Ramlee.

Pelakon: Tan Sri P. Ramlee, A.R Tompel, Ibrahim Din, Rose Yatimah, Ruminah Sidek, Noran Nordin, Karim Latif.

A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.

Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission.

With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi

When unexpected radiation raises the dead, a microcosm of Average America has to battle flesh-eating zombies in George A. Romero's landmark cheapie horror film. Siblings Johnny (Russ Streiner) and Barbara (Judith O'Dea) whine and pout their way through a graveside visit in a small Pennsylvania town, but it all takes a turn for the worse when a zombie kills Johnny. Barbara flees to an isolated farmhouse where a group of people are already holed up. Bickering and panic ensue as the group tries to figure out how best to escape, while hoards of undead converge on the house; news reports reveal that fire wards them off, while a local sheriff-led posse discovers that if you "kill the brain, you kill the ghoul." After a night of immolation and parricide, one survivor is left in the house.... Romero's grainy black-and-white cinematography and casting of locals emphasize the terror lurking in ordinary life; as in Alfred Hitchcock's The Birds (1963), Romero's victims are not attacked because they did anything wrong, and the randomness makes the attacks all the more horrifying. Nothing holds the key to salvation, either, whether it's family, love, or law. Topping off the existential dread is Romero's then-extreme use of gore, as zombies nibble on limbs and viscera. Initially distributed by a Manhattan theater chain owner, Night, made for about 100,000 dollars, was dismissed as exploitation, but after a 1969 re-release, it began to attract favorable attention for scarily tapping into Vietnam-era uncertainty and nihilistic anxiety. By 1979, it had grossed over 12 million, inspired a cycle of apocalyptic splatter films like The Texas Chainsaw Massacre (1974), and set the standard for finding horror in the mundane. However cheesy the film may look, few horror movies reach a conclusion as desolately unsettling. ~ Lucia Bozzola, Rovi