Davachi
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罗臻
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剧情简介：本片讲述的是一名芭蕾舞演员（秦萍）饰，在一次偶然的相遇中与男主角（关山）饰的一次邂逅，让这两人产生了姻缘，不久这名芭蕾舞演员得了重病，卧病不起，最终以最悲惨的结局，让这两人的姻缘没有能幸福长久。地区：香港色彩：彩色对白：国语出品：邵氏兄弟导演：罗臻ZhenLuo编剧Writer：罗臻ZhenLuo-writer/依达YeeTat-story(asYiTa)制作人Producedby：Chi-ChungKwan-associateproducer/邵逸夫RunRunShaw-producer摄影Cinematography：OscarTung/董绍咏ShaoyongDong剪辑FilmEditing：姜兴隆Hsing-lungChiang原创音乐Origi...
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米凯尔·萨洛门
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A divorced mother approaching her 40th birthday falls for a younger man while on vacation.
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罗布·麦克尔亨尼
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Withthequarantinefinallyover,thenewseasonofMythicQuestfindseveryonebackintheoffice(well,almosteveryone),attemptingtobuilduponthesuccessofRavensBanquetbylaunchinganepicnewexpansion,butIan(RobMcElhenney)andthenewlypromotedco-creativedirector,Poppy(CharlotteNicdao),strugglewiththegame’sdirection.Meanwhile,C.W.(F.MurrayAbraham)reconcilessomeunresolvedissuesfromhispast,thetesters(AshlyBurchandImaniHakim)testtheboundsofanofficeromance,andDavid(DavidHornsby)losesyetanotherwomaninhislifeasJo(JessieEnnis)leaveshimtoassistBrad(DannyPudi).
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Arielle
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Halili
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Veda
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Cienfuegos
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Lindsay
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Owen
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Pierre
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Sheriauna
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Haase
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Callan
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Farris
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Kate
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Moyer
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加文·麦基弗·赖特
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Quincy
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Kirkwood
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James
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Goldman
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迪伦·肖明
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Nathaniel
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Buescher
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凯尔·费林
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Alexander
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Schmelzer
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Sarah
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Deakins
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Kiera
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Laidman
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吉安保罗·文塔
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米莉·戴维斯
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安吉拉·贝夏拉
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韦斯利·弗兰斯
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卢克·勒斯勒尔
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蕾切尔·威
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Inthefuture,technologywillbeabletomakethelivesofeverykideasier.SeewhathappenswhenchildhoodcuriosityleadstochaosinCircuitBreakers,premieringNovember11onAppleTV+.
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法加·努格鲁斯
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Wulan,asupermarketemployee,isabandonedbyherirresponsibleboyfriendafterfindingoutaboutherearlypregnancy.Wulanneedstotakeresponsibilityforherselfandherunbornchild.Wulan'sdesperationleadsherto“SupportPregnancy”onlinegroupthatclaimsasapro-lifevolunteer.ThegroupintroducesWulantothewealthySantosofamilywhowantedtoadoptherunborn...
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由JohnKrasinski主演的Amazon剧《杰克·莱恩TomClancy’sJackRyan》第二季放出首预告，本季讲述JackRyan来到南美洲委内瑞拉丛林调查被偷运的武器，但在调查过程中主角发现了委内瑞拉总统正准备袭击美国，而他和同事得解决这场包括美英俄委四国在内的大阴谋。第二季其他演员包括WendellPierce、NoomiRapace、MichaelKelly、TomWlaschiha、JovanAdepo、JordiMolla、CristinaUma?a及FranciscoDenis。P.S：Amazon已续订《杰克·莱恩》第三季。
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Whenaprivateeyetakesacasetofindamissinguniversitystudent,hemustexplorethedeepdarkdepthsofhisownmindtouncoverthetrutharoundhisownchildhooddisappearanceashetracksdownthemissinggirl.
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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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AmericanfilmcriticElvisMitchell’skaleidoscopicdocumentarycreatesadefinitivenarrativeoftheBlackrevolutionin1970scinema,fromgenrefilmstosocialrealism—aworkofpainstakingscholarshipthat’salsothoroughlyentertaining,anessentialarchivaldocumentandtestamenttoaperiodofAmericanfilmhistoryunlikelytoberepeated.
