Daud
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Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen. Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan... Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don. The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment
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Amid-agehipsterinStockholmisatrainingfreakandtrainsforthe90kmskiraceVasaloppet.Hissisteristheopposite,nojob,drinksbuthasadaughter.Suddenlysecretsrevealsandpromisesaremade.
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查恩雅·麦克洛里
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吴翊歌
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本杰明·约瑟夫·瓦尼
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Kulteera
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Yordchang
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大卫·阿萨瓦纳德
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Paramej
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Noiam
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Aticha
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Pongsilpipat
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Wanpiya
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Omsinnopphakul
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"TheOneHundred"tellsthestoryofayoungwomanwhohasjustreturnedfromaforeigncountry.Shehastostayatahoteltoquarantine,butthensuddenlycomesacrossamonsterthatcanchangeitsshapeinavarietyofways,accordingtotheindividualthatthismonsterpossesses.TheconceptofthestorywasinspiredbythestoryofBattambangwhichwastoldduringthereignofKingRamaV.
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Before Krypton exploded and Jor-El put his baby son, Kal-El, in a rocket ship to Earth, the bene册ent ruler was forced to banish three irredeemable criminals to another dimension called The Phantom Zone. The trio's leader, General Zod, vowed revenge. Later, of course, Kal-El grew up to become Superman, Earth's mighty champion. A battle with the criminal mastermind, Lex Luthor, ends with Superman hurling a nuclear warhead into space where it explodes, but not harmlessly. Instead, it frees the Kryptonian threesome from their other-dimensional prison. They soon discover they have almost unlimited power (the same powers, in fact, as Superman), which they use to take over the Earth. Meanwhile, the intrepid reporter, Lois Lane, learns that her bumbling colleague, Clark Kent, is really Superman, a revelation that leads to him bringing her to his frozen Fortress of Solitude and renouncing his powers in order to make love to her. It is only when Superman and Lois return to civilization that they learn of the three Kryptonians and how Lex Luthor has joined forces with them. Now, Superman must reverse the irreversible and regain his powers in order to save mankind.
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Michael, a Danish gangster, takes his girlfriend, Sascha, and his extended criminal family on a luxury vacation in a fancy villa in gorgeous Bodrum, Turkey. Shopping, waterparks, barbecuing, and hardcore partying fill their days and nights. Having little regard for anything or anybody outside their world, they exist in a bubble of excess that is governed by Michael’s rules—and if the code is broken, they all know that violence will follow. But when Sascha befriends a Dutchman with romantic designs on her, she toys with Michael’s authority and creates a situation that cannot end well. In a breakthrough performance, Victoria Carmen Sonne fully commits as Sascha, the complex young moll that eludes assumptions and expectations. First-time writer/director Isabella Eklöf has a dynamic visual touch and a flair for dark comedy and creates a destabilizing discord as she elaborately fills the frame with colorful, seductive images while telling a disturbing, graphic tale of brutality and power. Holiday provokes, challenges—and even implicates—the viewer in its unsettling reflection of our times.
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Five students who had to carry out KKN in a remote village are warned not to cross the boundary of the forbidden gate that leading to the mysterious place that may related to the figure of a beautiful dancer who began to disturb them.
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《吸血鬼之后》翻拍自2003年电影《魔鬼之后》第一世得不到女主的爱，第二世还是爱得那么卑微遭到惊扰而复活的吸血鬼Maekin(Cee)回来清算自己同前世恋人Rommance(Noona)及情敌Witawat(Ohm)之间的爱恨纠葛。一百年前，Maekin/銮Maekin是克星巫师，Witawat叫Tian/Sertian,是劫富济贫的俠盗。Maekin爱上Bonplum,他发誓会永远照顾她。但他的父亲昭坤Thewarak不喜欢仅仅是家里佣人的!Bonplum,昭坤Thewarak得知Tian暗恋Bonplum,因比将Bonplum赐予Tian,害Maekin承受莫大的心碎。后来，Maekin被锁链囚禁在城堡中。在他离世时，Maekin使用巫术令自己获得永生。昭坤Thewarak命令将Maekin的尸体理在城堡底下。百年之后，爱久弥坚。Maekin仍期待着能见到自己的恋人。Bonplum转世为Rommanee,同Witawat相恋。Witawat的朋友Narudom(Ak)念出复活咒语唤醒MaekinNarudom成为Maekin的奴隶,不得不寻找纯洁少女供Maekin吸血.Maekin外出寻找自己的恋人。有许多人成为他的受害者.Rommanee感到自己同Maekin之同有联系，Witawat见此异常因而开始调查那座神秘城堡里的真相。唯有"发晶"是唯一能阻止Maekin的力量。
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The rise and fall of a soccer club owner, discovering the harsh reality of the sport, often connected with crime and fraud.
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45 year old Don Valter is a traditional priest who still wears an old fashioned black tunic out of nostalgia. One day young Claudio and his exuberant troupe of actors appear, proposing to perform an avant-garde show based on the Gospel's miracle of the rebirth of Lazarus*. The powerless priest is overwhelmed by this young upstart, who stirs within him emotions that will, whether he likes it or not, pull him into the modern era.
