Thor
搜索"Thor" ，找到 以下影视作品
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Addressesthelegendofafilm,longthoughtlost,thatresultedindeathorinjuryforthefewwhosawit.Thenrevealsthatkillerfilm,titledAntrum,hasbeenfound,andshowsit.
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Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007 Author TimothyFarrell from Worcester, MA Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire. The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610) -from imdb
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SaraGarcia
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约翰·卡西尼
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朱利安·布莱克·安蒂洛普
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朱利安·瑞钦斯
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CatherineGell
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JasonSchneider
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雷蒙·乔希
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AngeliqueBerry
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LaurenHanna
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BrianMartell
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朱利安·布莱克
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·安蒂洛普
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AveryMalone,awannabewriterandlonelylibrarian,getsherbigbreakwhensheshand-selectedtoassistherhero,reclusiveauthor,CalebConrad.WhiskedawaytoCalebsremoteestate,Averyisgivenheroneandonlytask;toparticipateinacontrolledpsychologicalexperimentinfearthatwillserveasthebasisforCalebsnextnovel.
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深作欣二
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航空署观测到一颗未知行星，正以极高速度向地球撞来。为拯救地球，以杰克（RobertHorton罗伯特霍顿饰）为首的特遣队登陆小行星，希图将其炸毁。队员们成功抵达，却在小行星上发现许多具生命特征的绿色不明物。限于总部的命令，特遣队未作深究，将行星炸毁，不期竟将绿色生物带回伽马3号空间站。外星生物在空间站内大量繁殖，人类用镭射枪进行攻击，反使其吸收能量得到更快繁殖，在太空站内进行大肆破坏，伤亡人数不断增加。最终，人类能否想出办法击败外星生物，拯救自己的性命呢？
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让-保尔·萨罗米
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巴斯蒂安·布永
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康坦·多尔迈尔
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洛丽塔·夏马
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勒达·卡代布
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弗兰西斯·莱珀雷
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萨拉·吉罗多
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奥利维尔·卢斯托
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弗朗索瓦·佩彻
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塞德里克·韦伯
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卡米尔·雅毕
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皮埃尔·洛廷
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Victor·Poirier
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Arthur·Teboul
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Margaux·Rossi
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Christophe·Kourotchkine
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Frédéric·Buret
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皮埃尔·吉拉德
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Helena·Sadowy
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Julien·Massetti
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阿兰·布兹盖
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ThestorychartshowyoungPolishrefugeeJanBojarskibecamethebiggestcounterfeiterofalltime,“theCézanneoffakemoney”,inpost-warFrance;how,foroverfifteenyearsandunbeknownsttohisfamily,thismanledadoublelifemakingcounterfeitmoney-whichwas“morereal”thanthenotesprintedbytheBankofFrance-inashedatthebottomofhisgarden;andhow,inalltheseyears,thisunparalleledfakermanagedtoslipthroughthepolice’snettobecomethethorninCommissionerMattei’sside,overthecourseofahuntwhichfastturnedintoaduelforthesetwoobsessives…
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AmericanfilmcriticElvisMitchell’skaleidoscopicdocumentarycreatesadefinitivenarrativeoftheBlackrevolutionin1970scinema,fromgenrefilmstosocialrealism—aworkofpainstakingscholarshipthat’salsothoroughlyentertaining,anessentialarchivaldocumentandtestamenttoaperiodofAmericanfilmhistoryunlikelytoberepeated.
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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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乔治·波洛克
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Old miss Marple is on a train ride when she witnesses a murder in a passing train. She reports it to the police but they won't believe her since no body can be found there can't have been any murder, right As always, she begins her own investigation. The murder was committed while passing Ackenthorpe Hall and miss Marple gets herself a job there, mixing cleaning and cooking while searching the house for clues.
