Napapach

99Moonshomesinontwocharactersunitedbyfeelingsborderingonobsession.There’sBigna,aresearcherspecialisingintsunamiswho’salmostthirtyandonthepointofrelocatingtoChileforworkreasons,andthirty-three-year-oldFrank,whowillshakeupherconvictionstothepointshedecidestostay.

onique Watson, a 12 - years old African American girl goes missing from her Brooklyn home. Her father Micheal Watson does everything on his power to find his little girl, he holds himself up through faith and will. The police are having a hard time finding her, when Christian Baker a young New York City journalist from The Chronicle gets assigned to her story. Christian tries to get the assignment done, he quickly and poorly researches the story and goes with the first lead. This brings down an unexpected series of events. Christian with guilt decides to join Micheal on his search and takes upon himself to race time and help find Monique.

　　Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.

俄罗斯莫斯科闹市中心,履行押解义务的军方军队受到一伙练习有素的强盗打击,大战当时的现场惨不忍睹,主要的卫星元件受到挟制。国际刑警霍布斯（道恩·强森 Dwayne Johnson 饰）查明,包含此案在内的一系列案件均系前特种军队武士欧文·肖（卢克·伊万斯 Luke Evans 饰）所为。为了将这群练习有素!干练凶恶的强盗绳之于法,他辗转找到隐居世外桃源的多米尼克·托雷多（范·迪塞尔 Vin Diesel 饰）助拳。霍布斯开出的前提令人难以谢绝,他不只能够将托雷多跟布莱恩（保罗·沃克 Paul Walker 饰）一伙早年的犯法记载一笔取消,别的欧文一伙中居然另有本该逝世去的拉蒂（米歇尔·罗德里格兹 Michelle Rodriguez 饰）。史无前例的伤害战役,为了安宁平常的生涯,这群流亡之徒再上疆场……

Oneweekonacruiseship,withparties,funandnewfriendships.Theall-gayclienteleonboardarepreoccupiedwithtopicssuchasidentity,thebodybeautifulandthesearchforsex.Everyeveningisdedicatedtoanewtheme,challengingthepassengerstoevermoreextravagant,body-huggingoutfits.Inthecabinshowever,thetalkismorethanskindeepasthemenopenupabouttheirprivatelives.Marek,ayoungPolishmanjustwantstobeacceptedandlovedasahumanbeingandnotjustbecauseofhistautbody.DipankarfromIndiahasjustrecentlycomeout;heandPalestinianRamziarerevellinginthekindoffreedomtheycanonlydreamaboutintheirhomophobicsocietiesbackhome.MartinisHIVpositiveandpondershedonisticways,whilePhilippefromFranceobservestheproceedingsonboardserenelyfromhiswheelchair.InhisfeaturefilmdebutdirectorFerlandMilewskisucceedsinprovidingalookbehindthescenesofanostensiblysuperficialworld.Hishumorousapproachhelpshimcreateagenuinebondwiththeprotagonistswhotalkopenlyaboutgaydesires,freeloveandgoodold-fashionedmonogamy.

在一个演员家庭中，大姐汉娜（米亚·法罗MiaFarrow饰）的丈夫——经济人埃利奥特（迈克尔·凯恩MichaelCaine饰）正为小姨子莉（芭芭拉·赫希BarbaraHershey饰）神魂颠倒。二姐霍莉（黛安娜·维斯特DianneWiest饰）戒掉了毒品，如今为经济拮据苦恼正考虑赚钱的生意，而汉娜的前夫——电视台编导米基（伍迪·艾伦WoodyAllen饰）终日幻觉自己的了脑肿瘤，四处求医痛苦不堪。小妹莉与孤僻的画家情人弗雷德里克（马克斯·冯·西多MaxvonSydow饰）相处，是后者唯一的倾诉对象。埃利奥特难耐情欲，终于与莉发生了关系，霍莉在一连串打击后意外的获得了事业和爱情的拯救……围绕在这个演员家庭周围的所有人，经历着情感和事业的重新洗牌。

ThesonofasherifffallsinlovewithrunawaybootleggersdaughterintheAppalachianmountainsofKentucky.Afterdiscoveringadarkfamilysecret,heisforcedtochoosebetweenprotectinghisfatherorsavingthegirlheloves.

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

A spoiled schoolgirl runs away from home, gets pregnant while hitchhiking, and ends up as a fashion model for a pair of beauticians who like to photograph women committing crimes.

　　Alain and Marie moved to the suburb house of their dreams. But the real estate agent warned them : what is in the basement may well change their lives forever.