Filippi
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帕顿·奥斯瓦尔特
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You’venevermetpenguinslikethesebefore.Forgeticeandsnow,thisrowdycolonyofAfricanpenguinsarehittingthesun-drenchedbeachesandbreakingalltherules.Filledwithboisterousshenanigansandloadsofadorablepenguins,thiseight-partseriesfromRedRockFilmsaboutthereallivesofAfricanpenguinsbringsflipper-flappingfunanddrama.Jointheride…thistownisgonnagetpaintedblackandwhite!
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李克龙
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一桩国际奥秘大案,巨额美金不测落入由刘小光!文松主演的一家四口手里,镇静生涯被莫名卷入的奥秘大案攻破,遭受种种触目惊心的险情。无法之下刘小光!文松父子在勇敢与勇气的挣扎中,开启奥秘筹划,一家四口各怀“特技”,决议组合神奇S4侠,开启公理者同盟行为。决议抽丝剥茧,探寻个真相明白,一起一直遭受种种哭笑不得的故事,老是在不经意之处步步转危为安,令人哄堂大笑。跟着案情的深刻,却发明面临的朋友越来越伤害,老是诡秘莫测,永久躲在暗处追杀,刘小光用本人的布满魔性的舞步,文松用家传的萌萌拳一步步将这起跨国暴徒礼服,S4侠不负众望的在种种逗乐中轻松过关,维系着这座都会最大shoppingmall 的十拿九稳。
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Night Falls in India tells the story of Ricardo (Juan Diego) and Dana (Clara Voda). Ricardo decides to travel overland to India, as he used to do in the old days, when he brought hippies to the East with his van, crossing Europe, Turkey, Iran and Pakistan. But the situation is very different now. Ricardo has been in a wheelchair for the last ten years, suffering from a degenerative disease now in its final stage. He wants to die on the banks of the Ganges River and meet Gadhali again. In this journey, he is accompanied by Dana, his Rumanian housekeeper. Life owes something to these two lonely beings. The journey will become the alibi for paying it off. Night Falls in India is a shining road-movie full of life that uses journey as an excuse to tell a story about love and the passing of time, about the importance of the present and the need to recover lost time; a story in which the journey itself is as important as the arrival.
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皮奥特尔·舒尔金
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耶日·斯图尔
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克里斯提娜·杨达
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卡里娜·谢鲁斯克
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马里乌什·德莫霍夫斯基
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马雷克·瓦尔切夫斯基
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扬·诺维茨基
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亨里克·比斯塔
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莱昂·涅姆奇克
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克兹佐夫·马扎克
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斯坦尼斯瓦夫·伊加尔
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Setinanundergrounddungeoninhabitedbybundled,raggedhumanbeings,afterthenuclearholocaust.Thestoryfollowsthewanderingsofaherothroughthesituationsofsurvival.PeoplewaitfortheArktoarriveandrescuethemwhiletheirhabitatfallsapart.Delvingdeepintothedustyandlongabandondedvaultsofb-cinemainsearchoflostgemsalwaysleavesmewithabittersweettaste.Ononehandthediscoveryofunexpectedgemswherenoonewouldthinkthempossibleisarewardingexperience.Ontheotherhandthoughitmakesonewonderhowmanyoftheseremarkablelow-budgetoddities,personalloveaffairsofdirectorsneverquitefamousandnowallbutforgotten,havealmostforeverslippedfrommemory?nanycasewhatwehavehereisalittlepost-apocalypticgemfromPolandthatisreallybetterthanithasanyrightto.ThedystopiannearfutureofO-BI,O-BAfindsagroupofsurvivorsofthenuclearwarthatravagedtheEarthinhabitinganunderworldconcretebunkerandbidingtheirtimeastheywaitforthemysteriousArk,anairshipofsomekindthatwillcomeandsavethem.TheArkprovestobeanelaboratehoax,carefullydesignedtogivehopetothemalnourishedanddesperatedenizensofthebunker,whileinthemeantimethedomethatseparatestheirmiserableexistencefromthenuclearwinteroutsideisslowlycavingin.Whatfirststrikedmeaboutthemovieisthedesignofthebunkerandthedepictionofthesurvivors.Thesurvivorsaregaunt,filthyandterrible-lookingpenitents,dressedinragsandaimlesslywanderingtheneon-lithallsofthebunkerlikeautomatons.Thebunkerisarundown,seedyplace,withbrightneonlightspeeringfromallsidesliketheeyesofmalignantbeasts.Ononehanditisaslightly80’sdepictionofthedystopianfuturebutthemovieneverstoopsdowntoMADMAXcheese.Insteaditcombinesbitingpoliticalsatirewiththebleakoutlookofaworldwithnofuture,blackcomedywithbarbsonapathy,religionandpower.Thesurvivors,forexample,arefedsomekindofflourdroppingfromatubethathoversintheair-lateronwediscoverthefoodsupervisorusesbooksandtheBibleitselfasfillerforthismeagremeal.Therearemanysuchshortsymbolictouches,perhapsnotlife-changingorfaith-restoring,yetplayful,cleverandinspired.Onethingisforsure;O-BI,O-BAisnotyourrun-of-the-millsci-fischlock.Itovercomesitsmodestbudgetwithcreativityandhasgenuineartisticaspirationsbothfromawritinganddirectingperspective.Myopinionisthatitshouldhavebeenfilmedinblackandwhiteinsteadofcolourthough.Thedirectorusesatmosphericlightandshadowtogreateffectanditwouldhaveregisteredevenbetterinstarkblackandwhite.Theblue-greenneonontheotherhandoutstaysitswelcomeafterawhile.Justaminorgripeinanotherwisesolidb-moviewithitsheartsetinalltherightplaces.ImaginealessbleakTHEROAD(CormacMcCarthy)beinginjectedwiththesatireandhumourofDR.STRANGELOVEandyou’regettingthere.Seeitifyoucanfindit.
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罗伯特·洛格瓦尔
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瑞斯·维克菲尔德
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法比娜·泰蕾兹
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内森·凯斯
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丹妮尔·坎贝尔
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杰克·普罗特尼克
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斯科特·比纳
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马克·布拉姆霍尔
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莱斯莉·安·华伦
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Darren Dupree Washington
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Tom Sean Foley
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Brent Alan Henry
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基诺·蒙特斯诺斯
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莎拉·克拉克
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Deyo Forteza
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Eric Henry
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High in the hills, among the last remnants of Hollywood's golden age, Tod, 24 - and his sister Lani, 22 - live a breezy and charmed life in the sprawling mansion of their grandmother Judy, a former movie star now relegated to hosting a dying home shopping show. Tod's carefree and narcissistic existence takes a dark turn when he accidentally (perhaps) shoots Judy, killing her instantly. Desperate to maintain his decadent lifestyle, Tod hatches a diabolical plan to cover-up his Grandma's death, keep her show rolling, and keep the money flowing. After seducing Barb, Judy's producer, Tod convinces her to allow Lani to host the show in Judy's "absence." The ploy works, and the ratings go up. Tod kicks his cover-up into high gear - he turns his attention to Jacob (25), the mansion's handyman, who also happens to be his sister's boy toy. Jacob is the one person that can help Tod put the finishing touches on his evil opus. Surviving a long string of close shaves, Tod manages to outwit everyone,...
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斯图尔特·奥玛
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Dr.Brewster’ssuicidetakesaparticulartwistwhenthepathologistdeterminesthathehadalsobeenboundandgagged.TheBrewsters,bothmedicaldoctors,ranaprivateclinicandtheirsonJohn,wholivedathome,isdoctoralcandidateinphilosophy.OnepossiblesuspectisMichaelSteppingswhothreatenedtheBrewstersandtheirnurseafterhisdaughtersufferedsevereside-effectsandisnowinavegetativestatefromabotchedoperationtwoyearspreviously.TheforensicslabdeterminesthatoneofSteppings’sthreateningletterswasalteredandMorselearnsthatBrewstermayatonetimebeenhavinganaffair,sohemustconsideranotherpossiblemotiveformurder.
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Thisearly70’sgiallobyUmbertoLenziiscertainlyamongthebestinhisfilmographyandalsointhewholegenre.PersonallyIthinkLenzi’sbestfilmsarethefunnycartoon-turned-filmKriminal,thestylishgialloSevenBlood-StainedOrchids,theexplosiveNapoliviolentaandthis.IntheeightieshedidplentyoffilmtrashinformofEatenAlive,HitcherintheDarkorBlackDemons,allofwhicharerippingsomethingoffand/orverydullandslowmoving.KnifeofIcecamewhenthegialloboomwasatitshottestandtheresultisconvincing.Technicallythefilmissuperb,containinggreatcinematographyinthebeginningwhenwelearnaboutthemaincharacter’straumatowardstrains.Fromthispointon,Lenzishowsushisabilitytobenefitthewidescreenand,forexample,thebicyclerideneartheforestisgenuinelybeautiful!ThisscenealsoshowsLenzi’sabilitytobuildsuspense,veryslowlybutmeaningfully.Afterall,therearen’tsomanymurdersinthewholefilm,onlythesuspensecirculatingaroundthemurderer’sidentity.Onesuspectisadevilworshipperwhichbringsnewaspectstothemystery.Sincethefinalscenetakesplaceinachurch,onecanwonderifLenziwantedtocommentonsomething,maybethehypocriticalmoraleofchurchandsuperstition.Themaincharacter(CarrolBaker)ismutewhichdemandsalotfromherfaceandeyes.Theactressworksverywell,givingusabelievableperformancecirculatingaroundtheemotionsoffearandmentalpain.Theotheractorsaregood,too.Thefinally,however,maynotgivetoopositiveasightaboutfemalesexsincetheyallareexpressedrathernegativelyinthefilm,onewayoranother.Stillthisiseasilyamongthemostnoteworthyinthegenre,notasbloodyastheArgentofilms,forexample,butequallysuspensefulandvisuallyalsointeresting.
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翁贝托·伦齐
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UmbertoLenziisundoubtedlythekingofItaliancrimemovies,butunfortunately;SyndicateSadistsisnotthebestexamplesofhisworkinthisgenre.Lenzi’scrimeflickstendtobeacutabovetherestbecausehemakesfilmsbasedonstorieswithapoint,andtheydon’tlackdirection;butthisfilmfeelsabittoowaywardtofullyfitwiththerestofhisstuff.ThefilmtakesobviousinfluencefromSergioLeone’slandmarkwestern’AFistfulofDollars’(whichinturn,tookinfluencefromAkiraKurosawa’slandmarksamuraiflickYojimbo),inthatitfeaturestwowarringfamiliesandastrongcharacteratthecentre.ThecrimethatLenzifocusesoniskidnapping,andwecentreonacharactercalled’Rambo’.Ramboisdraggedintothewarbetweenthetwofamiliesafterhisbrotheriskilledbecauseofit.Rambouseshisbrainsandbrawntopitthetwofamiliesagainstoneanother,inthehopeofgainingrevengeforhisbrother’sdeath,rescuingayoungboythatthey’vekidnapped,andultimatelylettingthetwosidesdestroyoneanother.Thefilm’sbiggestassetisundoubtedlyTomasMilian.MilianwasputtogreatusebyLenziinalmostallofhiscrimethrillers.TherangeofcharactershehasplayedforLenziisimmense,andthisoneiseasilyoneofthecoolest.ThecharacteriscalledRambo,whichimmediatelysprangtomindthepopularSylvesterStallonecharacter-butforonce,theItaliansactuallyhaven’tstolenthisnameasSyndicateSadistswasreleasedfirst!Asusual,thefilmiswickedlyentertaining,aswegettowatchMiliangethimselfinvolvedintheusualarrayofcarchases,shootoutsandbrawls.Lenzihasgothimridingamotorbikethistimeround,andeveryscenefeaturingitandMilianisarealstandout!However,thefilmoftenfeelslikeitdoesn’treallyhaveanywheretogo,andthismeansthattherunningtimeisstretchedoutmorethanitshouldbe.ComparedtothecrimefilmsofotherItaliandirectors,SyndicateSadistsismorethanaboveaverage;butinrelationtoLenzicrimeflickssuchasAlmostHumanandTheCynic,TheRatandTheFist-itdoesn’tstandtallasoneofLenzi’sbest.Still,ifyou’relookingforninetyminutesoftestosteronefuelledmayhem-SyndicateSadistswillsuffice!
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ThesagaofawealthyDenverfamilyinmingtian6.comtheoilbusiness:BlakeCarrington,thepatriarch;Krystle,hisformersecretaryandwife;hischildren:Adam,lostinchildhoodafterakidnapping;Fallon,pamperedandspoiled;Steven,openlygay;andAmanda,hiddenfromhimbyhisex-wife,theconnivingAlexis.Mostoftheshowfeaturestheconflictbetween2largecorporations,Blake’sDenverCarringtonandAlexis’ColbyCo.
