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David Wenham's feature film directorial debut is a touching love letter to Sydney. This World Premiere is an improvised experiment about the random meeting of two strangers.Conceived, workshopped and shot in just ten days, Ellipsis begins with an accidental meeting between Viv (Emily Barclay; Prime Mover, 2009) and Jasper (Benedict Samuel) on the streets of Sydney. The two literally bump into each other, leading to conversation, a coffee and a nightlong adventure. They travel through the city from Bondi to Kings Cross, from a sex shop to bars and parks revealing more to each other and growing closer. Reminiscent of Richard Linklater's Before Sunrise, Ellipsis is refreshing and a great deal of fun, taking full advantage of its improvisational, loose nature. It's an affecting and longing love letter to Sydney at its most seductive: at night.

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

TheGatewayMeatisadisturbingandsadisticfilm,thatstraysfarfromthenormalconventionsofthehorrorgenre.ItisaboutagroupofSatanists,livinginaquaint,coastalfishingtown.AsthefilmprogresseswegettoknowthecharacterplayedbyDeCarohimself,Markus.ThefilmismainlyabouthowMarkusstrugglesashetriestodealwiththegreatexpectationsthatar...

杰西卡·布朗·芬德利(「名姝」)!西恩·哈里斯([碟中谍6 - 片面崩溃])将主演惊悚片[驱赶](TheBanishing,暂译),[恐怖游轮]导演克里斯托弗·史女士执导。影片故事配景设定在20世纪30年月,报告一名年青的牧师与老婆跟女儿搬进了一座庄园,而这座庄园当面隐蔽着恐怖的机密。影片将于本月5日在英国开拍。

SetinTorontoatthedawnofthe20thcentury,MurdochMysteriesisaone-hourdramaseriesthatexplorestheintriguingworldofWilliamMurdoch(YannickBisson),amethodicalanddashingdetectivewhopioneersinnovativeforensictechniquestosolvesomeofthecity’smostgruesomemurders.Murdoch’scircleofassociatesincludesConstableGeorgeCrabtree(JonnyHarris,Hatching,MatchingandDispatching),Murdoch’seagerandoftennaïveright-handman;InspectorBrackenreid(ThomasCraig,CoronationStreet),Murdoch’sskepticalyetreluctantlysupportiveboss;andtheloveofhislife,pathologist-turned-psychiatristDr.JuliaOgden(HélèneJoy,DurhamCounty),astaunchallywhosharesthedetective’sfascinationwithforensicscienceandinnovativeideas.AllarevaluableallieswhohelpMurdochsolvehisvariedcasesandtraversethemanystratumsofVictorian-turned-Edwardiansociety.

Yana hates Filipino men. For her, the perfect man is Moon Shi Woo, a dashing Korean actor from the Korean dramas that she always watches. Yana's dream comes true when she flies to Korea to join fans from all over the globe to meet Moon Shi Woo at an exclusive fan event. During the event, the fans compete for the attention of the star, but Yana finds herself falling for Jae, the...

宾夕法尼亚州南部的布鲁斯特市,资深的火车机师弗兰克·巴恩斯（丹泽尔·华盛顿 Denzel Washington 饰）行将提前退休,作为占有丰硕经历跟教训的老员工,他跟搭档们固然对公司出于本钱招聘绝对廉价却不教训的新员工不满,却也迫不得已。是日凌晨,弗兰克迎来了新的错误,年青气盛的领航员威尔·科尔森（克里斯·佩恩 Chris Pine 饰）,新老瓜代正式开端。与此同时,位于北部的富勒站涌近况态,满载伤害化学品的777号列车在无人驾驶的情形下径自开走,如野兽般呼啸着冲向生齿麋集的城镇。伤害随时来临,弗兰克跟威尔行将渡过难忘的一天……　　本片依据2001年美国俄亥俄州的一个实在变乱改编。

David and Hannah Cashman have promised their family a fun Christmas getaway, but when they arrive at a grand, old house in the snowy woods of Washington and are greeted by familiar construction foreman, the kids realize their parent’s plan to make it a working vacation; renovating the place in the hopes of flipping it. Alicia, the eldest, is annoyed but the younger kids are soon distracted when, wandering through the creepy mansion, they find a stash of old toys in an abandoned playroom and take to them instantly. Before long, they seem to be inseparable from their new playthings, much to the consternation of their nanny Rose who, along with Alicia, senses that something in the house is not quite right. As stranger and stranger things start to happen, Rose and Alicia have a hunch that there may be more to the history of the old house than the Cashman’s are letting on. Can the family escape with their lives – or will they stay forever in the crumbling house, never to celebrate another Christmas again? Bringing the nostalgia of stop motion holiday specials - #ToysOfTerror stars #KyanaTeresa (“Shadowhunters,” “Star Trek: Discovery”) as Hannah Cashman, Georgia Waters (“Siren”) as Rose Mathis, Verity Marks (“The Christmas Club”) as Alicia Cashman, Dayo Ade (“Workin Moms,” “October Faction”) as David Cashman, Saul Elias as Franklin Cashman and Zoe Fish as Zoe Cashman. The film is written and executive produced by Dana Gould (“Stan Against Evil,” “The Simpsons”) and directed by Nicholas Verso (Boys in the Trees, “Nowhere Boys”). The movie is produced by Blue Ribbon Content in association with Warner Bros. Home Entertainment and SYFY.

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