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类型:喜剧片
主演:弗雷德·阿斯泰尔 赛德·查里斯 简妮丝·佩吉 彼得·洛 乔治·托比厄斯
导演:鲁本·马莫利安
语言:英语
年代:未知
简介:翻拍自《妮诺契卡》 A musical remake of Ninotchka After three bumbling Soviet agents fail in their mission to retrieve a straying Soviet composer from Paris, the beautiful, ultra-serious Ninotchka is sent to complete their mission and to retrieve them. She starts out condemning the decadent West, but gradually falls under its spell, with the help of Steve Canfield, an American movie producer.
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类型:欧美剧
主演:玛丽-露易丝·帕克 亨特·帕瑞施 亚历山大·古尔德 凯文·尼龙 贾斯汀
导演:内详
语言:英语
年代:未知
简介:http://www.sho.com/site/weeds/home.doWhenWeedspremieresitssixthseasononAugust16,NancyandcompanyareontherunafterShanemurderedPilarwithacroquetmallet.(ThesethingshappentotheBotwins.)AccordingtoEntertainmentWeekly,apairoffamiliarfaceswithbejoiningthefamilyontheShowtimehit.LindaHamilton,theoriginalSarahConnor,willportrayaneco-consciousmarijuanagrower.Alongwithherlifepartner,thischaracterwillhelpsNancysettleinSeattle.Also,PeterStormare(PrisonBreak,Entourage)willplayahot-temperedGermanchefandAndy’snewboss.
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类型:动作片
主演:彼得·威勒 罗伊·迪普伊 詹妮弗·鲁宾 安德鲁·劳厄尔 迈克尔•卡洛兹
导演:克里斯丁·杜瓦
语言:英语
年代:未知
简介:故事发生在遥远的2078年,矿业组织NEB在天狼星6B行星上发现了名为“Berynium”的元素,该元素蕴含着巨大的能量,可以用来充当能源使用。组织派遣了一批矿工前往行星进行能源开采,然而工人们很快就发现,Berynium拥有强烈的放射性,根本不适合使用。虽然矿工们强烈要求停止任务,但组织却不为所动,无奈之下,矿工们自发的组成了“联盟”,和组织之间开始漫长的对抗。为了抵挡组织的猛烈攻击,联盟研制出了小型机器人“Screamer”,它拥有敏捷的身手和强大的攻击力,给敌方造成了巨大的伤害。然而,联盟并不知道的是,在不知不觉间,机器人们已经进化出了自我意识,想要成为这颗星球上的主宰者。
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类型:爱情片
主演:瓦妮莎·雷德格雷夫 海伦娜·伯翰·卡特 约瑟夫·班尼特 艾玛·汤普森
导演:詹姆斯·伊沃里
语言:英语
年代:未知
简介:一次偶然中,海伦(海伦娜·伯翰·卡特 Helena Bonham Carter 饰)和玛格丽特(艾玛·汤普森 Emma Thompson 饰)两姐妹结识了威尔克斯一家人。在威尔克斯家所拥有的霍华德庄园中,玛格丽特和威尔克斯太太(瓦妮莎·雷德格瑞夫 Vanessa Red grave 饰)的感情最为要好,海伦却在和保罗(Joseph Bennett 饰)的一段短暂恋情结束后离开了威尔克斯家。 威尔克斯太太死前将整个霍华德庄园留给了玛格丽特,亨利(安东尼·霍普金斯 Anthony Hopkins 饰)隐瞒了这一事实,转而向玛格丽特求婚。离开了霍华德庄园的海伦遇见了名叫巴斯特(Samuel West 饰)的男子,两人相处融洽。玛格丽特再度见到海伦之时,她震惊的发现,尚未成家的海伦已有身孕,这样的海伦遭到了威尔克斯家大儿子查尔斯(詹姆斯·维尔拜 James Wilby 饰)的厌恶和驱逐。
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类型:战争片
主演:德克·博加德 汤姆·康特奈 莱奥·麦凯恩 巴里·福斯特 彼得·科普利
导演:约瑟夫·罗西
语言:英语
年代:未知
简介:ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.
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类型:剧情片
主演:乔治·C·斯科特 苏珊娜·约克 伊安·邦纳 杰克·霍金斯 奈里·唐·波
导演:德尔伯特·曼
语言:英语
年代:未知
简介:父母早亡的简爱(苏珊娜·约克SusannahYork饰)寄住在舅舅家,舅舅病逝后,她受尽舅妈的歧视和虐待,最终被送进孤儿院。教规严厉的孤儿院让简爱继续受到精神和肉体的摧残,为了离开这里,她登了广告去谋求家庭教师职位。桑菲尔德庄园聘用她作男主人罗切斯特先生(乔治·C·斯科特GeorgeC.Scott饰)女儿的家庭教师。罗切斯特先生长年在外,空旷的房子阴森悚然。当脾气怪异的罗切斯特先生回来后,他对待简爱的态度时好时坏,但很显然他被清新独特的简爱所吸引,简爱也在与他的多次接触中渐渐爱上了他。在一次盛大家庭宴会中,罗切斯特向她求婚,简爱答应了他。正在婚礼举行时,有人指出罗切斯特早已结婚,古堡顶楼小屋里的疯女人正是他的妻子。伤心失望的简爱离开了庄园,历尽磨难寻找新出路,最终在牧师约翰的帮助下找到了一个乡村教师的职业。当牧师约翰向简爱求婚时,她依然无法忘怀罗切斯特,便拒绝了约翰,立刻赶回桑菲尔德庄园,却发现庄园已被烧成废墟……