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类型:美剧
主演:乔尔·埃哲顿 詹妮弗·康纳利 奥克斯·费格雷 艾莉丝·布拉加 吉米·辛
导演:雅各布·维尔布鲁根 路易斯·莱特里尔 瑟琳·赫德 罗根·乔治 罗克珊·道森
语言:英语
年代:未知
简介: 《人生复本》被誉为十年来最好的科幻小说之一,故事聚焦人生中未被选择的道路小说授权 剧集围绕JasonDessen(乔尔·埃哲顿JoelEdgerton饰)展开,他是一位物理学家、教授,也是个恋家的男人。有一天夜里,从芝加哥街头步行回家时,Jason被绑架进入了自己人生的另一个版本。面对自己可能经历的多元人生,他试图回到原本的现实里,奇事迅速成了场噩梦。在这重重现实迷宫中,Jason踏上了一段痛苦的旅程,以期回到真正的家人身边,并从他自己——一个最可怕又不可战胜的敌人手中,把家人拯救出来。
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类型:动作片
主演:托马斯·米连 约瑟夫·科顿 Maria Fiore Mario Pia
导演:翁贝托·伦齐
语言:其它
年代:未知
简介: Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another. The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!
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类型:喜剧片
主演:迈克尔·凯恩 诺埃尔·考沃德 班尼·黑尔 雷夫·瓦朗 托尼·贝克利 罗
导演:彼特·克林逊
语言:英语,意大利语
年代:未知
简介:该片被公认为英国电影的巅峰佳作之一,在英国电影学院评出的100部最佳英国电影中名列第36。片中汇集了大批当年英国影坛的红人。大盗查理(迈克尔·凯恩)刚出狱就急不及待要大乾一票,准备截劫从中国运到意大利的四百万美元黄金。查理在一名黑道头目资助下,展开了一个天衣无缝的盗金计划,出动了三架库珀豪华车、一队积架车及公车来堵塞交通。片中一幕宝马库珀豪华车(MINI Cooper)在好莱坞名人大道上疯狂地追逐,穿过地铁隧道入口,沿着只有迷你汽车才能行驶的狭窄小路狂奔,被认为是影史上经典飙车追逐场面,让观众体验到前所未有的紧张刺激......
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类型:喜剧片
主演:苏菲·玛索 克丽丝塔·特瑞特 杰瑞米·卡彭 Marion Chabas
导演:丽萨·阿祖洛斯
语言:法语
年代:未知
简介:和许多处于青春期的少女一样,罗拉(克丽丝塔·特瑞特 Christa Theret 饰)觉得自己的生活纠结成了一团乱麻。不仅仅是男友亚瑟(菲利克斯·穆阿提 Félix Moati 饰)的三心二意让她十分愤怒,她和母亲安娜(苏菲·玛索 Sophie Marceau 饰)之间的问题也似乎永远都得不到解决。然而,对于安娜来说,独自抚养一个个性叛逆而倔强的女儿究竟有多么辛苦只有她自己心里清楚,同时,在渐渐变得冷漠而陌生的女儿面前,安娜又何尝不是一个初出茅庐的“初学者”呢。 好在事情的进展渐渐有了转机,在一连串的误解和矛盾中,母女二人之间的坚冰也在慢慢的溶解,当安娜和罗拉各自站在对方的角度来看待她们之间所发生的一切时,整个世界发生了翻天覆地的变化。
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类型:喜剧片
主演:迪恩·马丁 杰瑞·刘易斯 波莉·伯根 Marion Marshall
语言:英语
年代:未知
简介:BillMillerisanunsuccessfulBroadwayperformeruntilhishandlersconvincehimtoenhancehisactwithastooge-TedRogers,aguypositionedintheaudiencetobethebuttofBill'sjokes.ButTedbeginstostealtheshow.Bill'sgirlfriendandhispalstellhimtomakeTedanequalpartner.Complicationsoccur,whileBillsingsandTedgetsthelaughs.
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类型:科幻片
主演:Margarete Schön Theodor Loos Paul B
语言:其它
年代:未知
简介: Wunder der Schöpfung 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 Schöpfung 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.