备注:已完结
类型:剧情片
主演:Mara Bugarin Serban Lazarovici 弗拉德·
导演:亚历山德鲁·贝尔克
语言:罗马尼亚语
年代:未知
简介:方(fāng )多病(bìng )和笛飞声回到东海边那个小屋时,天已经(jīng )大亮了。他们看到李莲花正蹲在门口,对着一堆木头敲敲打打,不由都松(sōng )了一口气。这次,他总算没有不告而别。方多病先凑到他跟前:“李莲花,你在做什么?”李(lǐ )莲花手上的动作没有停:“你们把我的床毁了,我不得重新做(zuò )一张?”方多(duō )病拿着他扔到一边的(de )锤子放在手里把玩(wán ):“何必麻烦?本少爷不是说了要送(sòng )你一张红(hóng )木大床吗?要是你不喜欢,本少爷也可以把天机山庄的那张红玉床送给你,让你能冬暖夏凉。”李莲花扯出一个笑容:“不必了,我皮糙肉厚(hòu ),睡不惯那样金贵的东西。”他说着看向还是小孩样子的笛飞声:虽然风息是为了拿回那个属于自己却被人类夺走的家园,而选择夺取小黑和其他(tā )妖精的能力,看似也是实属无奈,但却是一种自我麻痹(bì )罢了。风(fēng )息是自私的,他也是自负的。风息很难说是好人还是坏人,他带着目的接近小黑并且夺取(qǔ )小黑能力是真(zhēn ),之前对小黑的喜欢应该也是真。他对朋友被(bèi )抓毫无波看似无所谓是真,但是之前能让洛竹他们跟随自己肯定(dìng )也是有自己出彩点也是真。小黑才六岁,他先后遇见(jiàn )的风息和无限,真(zhēn )的(de )很像情窦初开的孩子(zǐ )的一见倾心的初恋和日久生情的爱情。小黑在乎风息,也在乎无限。只是想不被欺负、想要个(gè )家的小黑被风息口中的“家”拿捏了(le )心
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类型:美剧
主演:麦可·安东尼 Anthony De Jesus 多米尼克·德沃尔 Mi
导演:未知
语言:英语
年代:未知
简介:我觉得,肯定有人先入为主,当看到评分低的(de )时候,看电影就不是为了看电影了,就是为了全(quán )剧找槽点,硬找的那种。剧情不清晰吗,明朝四兄弟被(bèi )奸人离间,反目成仇,在相互奔杀过程中,被冰封来到四(sì )百年后(hòu ),解除封印,以个人特性熟悉现代生活,兄弟重逢,因误会见面就打,误会解除,穿越回去。这思路不明显吗。再来说特效,特效当(dāng )然一般了,没啥特点。还有人说现代人比不过古代人吗,拜托用(yòng )你(nǐ )那装满水的脑子想想,谁是主角,电影是演什么,这难道是什么纪实类型的电影吗,这是玄幻,武术,带有诙谐的片子,有夸(kuā )张的成分很(hěn )正常(cháng )。还有傻逼说,从那么高的楼《绿里奇迹》海报和很多经典电影一样,本片(piàn )改编自同名小说。就是写(xiě )恐(kǒng )怖小说的那哥们:斯蒂芬金影片开头是(shì )位正在洗(xǐ )漱的老人,他就是曾经的警长。本片采用倒叙方式 演员大卫·摩斯认为,达拉邦特首先是一作位家,其次才是一名导演。在拍摄(shè )本片时,达拉邦特仍在摸索与演员的相处之道,而且他认为要打动人心,就必须抓住观众情感中最细微、最孱弱的部分,于是力求精工细制的他(tā )将这部时长188分钟的电影拍摄了1年半。 在好莱坞,弗兰克·达拉邦特并非争名逐利之人,他说过这样一段话:“孩提时(shí ),我梦想着拍电影的种(zhǒng )种乐(lè )趣,但在这个圈子打拼多(duō )年后,
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类型:剧情片
主演:伊林卡·马诺拉切 尼娜·霍斯 Ovidiu P?rsan 多丽娜·拉扎
导演:拉杜·裘德
语言:罗马尼亚语
年代:未知
简介:从看到Seb's的一(yī )幕开始,一整个人(rén )就开始哭到有点缺氧的状态比起互相(xiàng )平行的关系,Mia跟Seb之间(jiān )更像是两条有过交集的直线(xiàn ),从未相识,在交点相遇,随后又离开。从塞车时的偶遇,直到公园长椅上的坦然分别,这中间的故事最触动到我的并不是他们从派(pài )对结束后Seb陪Mia找车,于夜色暗涌时共舞,一曲终了,Seb说自己的车就在上面,但其实兜兜转转,他的车就(jiù )在派对门(mén )口夜色下共(gòng )舞lying转了一圈又回到原地也不是Seb在家中用钢琴随性而饱含深(shēn )情地同Mia弹唱City Of StarsCity Of Stars而是Seb从一本人将根据(jù )电视剧《太极宗师》中的每一场打戏片段中计算出剧中人物(wù )的强度数值打戏视(shì )频素材出自公众号“武集天下”(强度(dù )值计算规则:——以普通人强度为1基准寻常士兵默认能一招秒杀普通人,秒(miǎo )杀差距4倍,所以一般士兵的强度值(zhí )默(mò )认为4然后是3招差距3倍,10招差距2.5倍,30招差距2倍,100招差距1.5倍,300招差距1.25倍,1000招差距1.1倍,每多10招,两者也(yě )就缩小10%,坚持的招数回合越多,双方的强度倍数差距就越小)杨昱乾強度值:29115287.12(说明:因为在该打(dǎ )戏(xì )片段中,即便此时(shí )的他在蒙眼+放
备注:已完结
类型:恐怖片
主演:Luis Padilla Drei Arias Raphael Rob
语言:他加禄语,菲律宾语
年代:未知
简介:小伙伴们都在追什么类型的(de )剧呢?小编看了最新一期的网剧播放指数(shù ),《神隐》位列第一,《三大队》位列第二,《你也有今天》进前三,《我知道我爱你》排在了第四位,《天启异闻录》排在第五位,《一念关山》位列第六,《脱轨》位列第七,你们(men )喜欢哪一部呢(ne )?《神隐》是(shì )赵露思和王安宇领衔主演的一部剧,小编还没有追完,从27集之后,剧情越来越精彩了,赵露思的造型也(yě )特别让人喜欢,无论是水凝兽阿音,还是凤隐,都让人喜欢,明明是一个人扮演,气质完全不一样,这部剧能够位列第一,也是众(zhòng )望所归吧。《三大(dà )队》也是一部很有看点的剧,秦昊(hào )的表演值得用(yòng )镜头记录,用光影渲染,视(shì )频影片不仅承载着画面的美好,更传递着浓厚情感。此次(cì )永盛视源为中国福利彩票倾情打造一系列温情、暖心、责(zé )任宣传片,以细腻的镜(jìng )头语言和精心的后期制作,讲述中国福利彩票背后的公益故事,传递(dì )生活美好(hǎo )。创意构思方面:以小切大,聚焦小人物 永盛视源团队在创意构思上,深(shēn )挖中国福利彩票的公益属性,聚焦在环卫工人这样平凡而伟大的小人(rén )物身上,通过环卫工人的(de )真实工作片段讲述中国福利彩票对社会的积极影响,以此来设计温馨感人的故事,用实际行动诠释责任和爱,引起受众共鸣,传递正能量。拍摄(shè )
备注:已完结
类型:里论
主演:Alejandra Herrera Noé Hernández Edu
语言:英语
年代:未知
简介:Marisol (Alejandra Herrera) is caught between her possessive and aggressive cousin, Mauro (Eduardo Mendizábal), and passionate but inert lover, Mundo (Noé Hernández). Violence is a constant presence in their rural Mexican town, with gangs and guerilla fighters a steady presence. When Mundo has to flee, their connection turns from physical to digital even when Marisol is held ca...
备注:已完结
类型:恐怖片
主演:Luis Padilla Drei Arias Raphael Rob
语言:他加禄语,菲律宾语
年代:未知
简介:An LGBT-themed horror film set in a rural town in the Philippines. A remote village is gripped with fear. Its residents are missing one by one. Now a young nurse is in town to care for an ailing Don Filipo. Will he be the next victim?
备注:已完结
类型:其他
主演:斯特凡·乌赫尔 米洛斯·福尔曼 Jaromil Jireš 帕维尔·祖
导演:马丁·舒利克
语言:其它
年代:未知
简介: The 2-part feature-length documentary "25 ze šedesátých aneb Československá nová vlna" ("25 from the Sixties, or Czechoslovak New Wave") presents a complex view of the phenomenon of Czech and Slovak New Wave in the cultural and social context of the 60's. 25 fundamental films commented on by their makers and film historians offer the viewer a dramatic insight into the golden era of Czechoslovak cinema. The documentary is a follow-up on the biographical TV series "Zlatá šedesátá" (Czech Television, 2009), based on the filmmakers' personal remembrances. As opposed to the series, the documentary presents the Czech and Slovak cinema of the 60's in the national, international and also inter-generational context. It describes the ways the New Wave crossed the existing artistic boundaries, how it variegated the world cinema and where it left an ineffaceable impression. It analyses the work of filmmakers in a state-funded cinema, under the pressure of ideological demands on one hand and commerce on the other. It presents the dilemma of a man - an artist - on the edge between contradictory social systems and incongruous aesthetic requirements. The existential drama of a man acting freely and at the same time mercilessly crushed by the wheels of the system. The 60's are, from this point of view, mostly an era of fortunate historical constellation, not only in - at that time - Czechoslovakia, but on a world-wide scale. An era of expectations and upswing, but also an era of exemplary human decisions and artistic pursuit. Those are some of the things "25 ze šedesátých aneb Československá nová vlna" wants to commemorate. Part 1 comments on: ■"Slnko v sieti" ("The Sun in a Net," 1962) by Štefan Uher ■"Konkurs" ("Audition," 1963) by Miloš Forman ■"Křik" ("The Cry," 1963) by Jaromil Jireš ■"Postava k podpírání" ("Joseph Kilian," 1963) by Pavel Juráček & Jan Schmidt ■"Každý den odvahu" ("Courage for Every Day," 1964) by Evald Schorm ■"Démanty noci" ("Diamonds of the Night," 1964) by Jan Němec ■"Intimní osvětlení" ("Intimate Lighting," 1966) by Ivan Passer ■"Ať žije republika" ("Long Live the Republic," 1965) by Karel Kachyňa ■"Obchod na korze" ("The Shop on Main Street," 1965) by Ján Kadár & Elmar Klos ■"Romance pro křídlovku" ("Romance for Bugle," 1966) by Otakar Vávra ■"Sedmikrásky" ("Daisies," 1966) by Věra Chytilová ■"Ostře sledované vlaky" ("Closely Watched Trains," 1966) by Jiří Menzel Part 2 comments on: ■"Kristove roky" ("The Prime of Life," 1967) by Juraj Jakubisko ■"Stud" ("Shame," 1967) by Ladislav Helge ■"Svatba jako řemen" ("A Hard and Fast Marriage," 1967) by Jiří Krejčík ■"Drak sa vracia" ("Dragon's Return," 1967) by Eduard Grečner ■"Marketa Lazarová" ("Marketa Lazarová," 1967) by František Vláčil ■"Spřízněni volbou" ("Elective Affinities," 1968) by Karel Vachek ■"Spalovač mrtvol" ("The Cremator," 1968) by Juraj Herz ■"Zabitá neděle" ("Squandered Sunday," 1969) by Drahomíra Vihanová ■"Pasťák" ("The Decoy," 1968) by Hynek Bočan ■"Případ pro začínajícího kata" ("Case for a Rookie Hangman," 1969) by Pavel Juráček ■"322" ("322," 1969) by Dušan Hanák ■"Slávnosť v botanickej záhrade" ("Celebration in the Botanical Garden," 1969) by Elo Havetta ■"Všichni dobří rodáci" ("All My Good Countrymen," 1968) by Vojtěch Jasný