A producer decides to reopen a theater, that had been closed five years previously when one of the actors was murdered during a performance, by staging a production of the same play with the remaining members of the original cast.
由英伦鬼才导演埃德加·赖特执导编剧的《极盗车神》,讲述了关于天赋极高的犯罪团伙司机——名为“Baby”的年轻人的故事。Baby(安塞尔·艾尔高特 Ansel Elgort 饰)专门负责帮银行抢劫犯开车逃脱。Baby因童年的一场事故导致耳疾,要靠专属的音乐来掌控开车节奏。偶然的一次邂逅,他与餐厅女服务生(莉莉·詹姆斯 Lily James 饰)坠入爱河,并想就此金盆洗手。头目老大道哥(凯文·史派西 Kevin Spacey 饰)表示,只要Baby再完成最后一次任务,就可以给他自由。殊不知,巨大的危险和挑战在等待着Baby……
Hampus and Adrian's relationship has gone down increasingly destructive paths and during one fateful discussion it all ends. Hampus and Adrian are no more, but in some way they have to go on living. A healing process divided into stages of desperate attempts to reunite as well as rebounds, which sometimes push them further apart and sometimes closer together.
When a young mother is barricaded inside a pantry by her violent ex-boyfriend, she must use ingenuity to protect her two small children from escalating danger while finding an escape.
电影提名09年度俄罗斯奥斯卡(尼卡奖)最佳电影。 Based on Vladimir Makanin's The Prisoner from the Caucasus CAPTIVE focuses on the folly of war in an intimate, startling way. In modern times, the Russian soldiers are trapped in the vast Chechen landscape, stifling in the heat, lost in hostile, alien surrounds. The handsome, laconic commander Rubakhin and the playful sniper Vovka need a guide to lead their convoy to safety. They seize a local, beautiful boy, who becomes their passport to safety, but must pay a terrible price. And his captors will not escape from the incident unscathed either....
四个生活在英国的穆斯林青年:奥马尔(Riz Ahmed 饰)、白人巴里(Nigel Lindsay 饰)、瓦伊以及费萨尔正在用一只玩具枪做道具拍摄圣战视频,献身圣战是他们狂热的梦想。奥马尔厌倦了巴里那吃电话卡避免被追踪的无厘头理论,与瓦伊远赴巴基斯坦的穆斯林游击战士训练营学习,奥马尔和瓦伊的苦逼训练生活很快因为误打战友而终止了;留在英国的巴里物色同志,找到了在公开场合质疑英国时政的阿拉伯青年哈桑,一起和使用变声大法收集过氧化剂制造炸弹的费萨尔研制炸弹。回国的奥马尔谎称接到制作炸弹的任务,将其他人置于自己的控制下。费萨尔由于失手被炸身亡,剩下的四名穆斯林战士将目标锁定在伦敦马拉松上……
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
Mini Mo(郑秀文饰)遭受失恋的打击后,饮食失去控制后体重升至260磅,窈窕身材不再。她与初恋情人黑川约定在十年后的日本相见,但旧貌不再的她深感自卑。偶然相识了跟她同样体型极胖的肥佬(刘德华饰),肥佬非常同情她,决定要帮她重塑魔鬼身材。肥佬以地狱式减肥方法锻炼Mini,为了让她减肥成功,得到更多的金钱让她上专业美容院减肥,肥佬不惜在街头被拳击换取酬劳。令Mini感动不已。 Mini恢复原貌前去赴约,黑川向她提出求婚,可是她心中仍念念不忘为她默默付出的肥佬,盼望跟他重逢的一天。
This is an unusual film of exceptional values--75 minutes long in color, with hardly any spoken dialogs. I saw this Iranian film in Farsi without English subtitles at the Early Iranian cinema retrospective on-going International Film Festival of Kerala, India. That I was watching a print without subtitles did not make a difference as there were very few lines of spoken dialogs. This is a very accessible film for any audience to enjoy--its story and values are not merely Iranian, it's universal. The film is set in rural Iran that had not tasted petro-dollar prosperity. The setting is on fringes of desert land, where water is scarce, rainfall scanty and hardly any blade of grass is green. Add to it wind and dust that buffets and whips man and animal and you can imagine plight of the people who live on the fringes of society. The film is moving tale of a young teenager returning to his village with a goat--only to find his family and villagers have moved on to escape natures vagaries and that one old man remains. He gives the goat to him and goes in search of his family. Water is scarce and well water it treated with reverence and never wasted.
The movie is based on the suspense short film nominated for the Golden Méliès to the Best European Fantastic Short Film, winner of more than 30 awards and screened by more than 200 film festivals. It was defined by the critics as a cult short film.
산골 마을에서 큰 욕심 없이 살던 노총각 약초꾼 ‘도기’에게 어느 날 손님이 찾아온다. 사업 실패로 수배 중인 친구 ‘창국’이 뇌쇄적인 그의 아내 ‘선화’와 함께 찾아온 것. 도기가 이들을 어쩔 수 없이 숨겨주면서 셋의 이상야릇하고 불편한 동거가 시작되는데... 멈출 수 없는 친구 아내에 대한 강렬한 욕망을 도기는 과연 참아낼 수 있을까 그리고 도기가 절대 알아선 안 되는 그녀의 비밀은 무엇일까
最近,在曼哈顿发生了一连串的离奇死亡事件,而这些事件的主要责任竟要归结到一对对此毫不知情的昆虫学家夫妇苏珊(米拉·索维诺 Mira Sorvino 饰)和皮特(杰瑞米·诺森 Jeremy Northam 饰)的身上。 原来,为了抵抗曾经在曼哈顿肆虐的疫情,苏珊和皮特创造出了一种名为“犹大”的昆虫,这种人造昆虫没有繁殖的能力,却能够消灭病毒的携带体蟑螂。令两夫妇没有想到的是,在犹大的体内发生了未知的变异,使得它不仅拥有了繁殖后代的能力,甚至可以化身成人类的模样进行狩猎,而它们的猎物不是别人,正是人类本身。作为犹大的“父母”,苏珊和皮特义不容辞的担负起了消灭它们的责任,在地铁系统专家雷纳德(查尔斯·达顿 Charles S. Dutton 饰)的帮助下,一行人向着犹大在地下的老巢进发了。
Hanoch est seul sur une plage déserte d'un petit village des Landes. Au loin, Israël, son pays, qu'il a quitté pour une raison mystérieuse. Quelques jours plus tard, une jeune femme le retrouve inconscient sur le rivage. Personne ne parvient à savoir qui il est. L'inspecteur Ruben Vardi est sur le point de prendre sa retraite
pas question de se charger de cette affaire. Mais des faits étranges le décident à changer d'avis...