搜索"䤀瘀愀" ，找到 部影视作品
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未来世界，为了赢得星际战争，政府从新生儿中严格挑选一批人，从小就进行杀人训练，这些人没有家庭、感情，他们眼中只有杀戮，称为兵人。特德（库尔特•拉塞尔 Kurt Russell 饰）就是这群人中的佼佼者，他经历了数场星际大战，依然屹立不倒。这次政府采用新的基因技术，让婴儿在母体中就接受战争基因的改造，制造了一批改良后的兵人。 为了测试效果，特德和另外两名伙伴被挑选和新兵人凯恩（贾森•斯科特•李 Jason Scott Lee 饰）进行一场较量，结果两名伙伴被打死，而特德因为昏迷被误认为死亡而逃过一劫。他和另外两个伙伴的尸体被扔到了一个垃圾星球。特德在那里遇到了被遗弃的平民，他麻木的心灵在这里滋生了友谊和爱情。当他准备在这里和心爱的女人幸福过活时，政府将这里当成了新兵人的训练场。新兵人们在这里的任务就是杀光所有生物。为心爱的人和伙伴们，特德毅然出战！
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José Mojica Marins是巴西最著名的CULT恐怖片电影大师，这是其第一部长片作品，也是其著名的Ze do Caixao系列的第一集，开创了巴西低成本独立电影的新局面。
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500年前，充满迷信色彩的西班牙，认为海洋的尽头有魔鬼守侯著，只有航海家哥伦布坚信，海洋的尽头是一片新土地，几经辛苦说服女皇资助冒险旅程的他终于发现新大陆，可惜贵族们都视这土地为猪肉，只有他愿意维持乐土的自然纯朴，终被奸人排拆，究竟现实与梦想的距离，会否动摇这位梦想家的坚持呢？ -幕后花絮 影片描写的是著名航海家哥伦布的航海故事，重点刻画的是哥伦布的社会性。以其子费尔南多的回忆的形式，对其颠沛流离的一生进行了追述。通过影片我们可以看到，作为一名航海冒险家，哥伦布绝对是成功的伟人；但若将他视作一个普通人，他又是一个可叹的失败者。影片生动地再现了哥伦布丰富多彩的社会生活经历，他那富有理想的心智和勇敢无畏的精神，还有那粗暴蛮横的坏脾气和贪婪攫取的性格。
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该片在印度国内以3D形式上映。 烟火工纳尼（纳尼 Nani 饰）暗恋对楼的女孩缤杜（萨曼莎·鲁斯·帕布 Samantha Ruth Prabhu 饰）两年，虽然从未获得缤杜肯定，依然对她如痴如醉。赞助缤杜工作的建筑公司老板苏迪普（苏迪普 Sudeep 饰）也看上了她，这个看似腰缠万贯、有权有势的男人实则是个心狠手辣的黑帮老大。他用尽手段欲引诱缤杜，但他发现缤杜爱的是纳尼。正当缤杜与纳尼度过一个甜蜜的夜晚，缤杜决定鼓起勇气想向他表明心意时，纳尼却被嫉妒的苏迪普所谋杀。然而死去的纳尼死而复生，灵魂变成一只苍蝇而重生。它努力尝试破坏苏迪普接近缤杜的一切计划，并终于让缤杜相信它就是纳尼。于是这对情侣开始联手实施一系列不同寻常的报复行动......
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Robert Tucker, a sorrowful, solitary man, given to bouts of weeping, tries to balance his life caring for his aging mother, his Catholicism, his homosexuality, and his dull job. One night, after his mother has gone to bed, he dons leather and heads for a private club. He telephones a tattoo artist with a special request. He goes to confession, accusing himself of despairing. He cries out during a nightmare, waking his mother. "You're a good boy," she's told him. He prays the Stations of the Cross, and he lives out his own sorrowful mysteries.
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In sepia tones, the film moves back and forth among three periods in Robert Tucker's life he's an old man, near death, in a nursing home at Christmas time; he's in middle age caring for his cheerful but dying mother; he's a lad at Catholic school, practicing his catechism, going to confession for the first time, receiving the Eucharist, surrounded by the singing of a children's choir. In middle age, he looks through his scrapbook of photographs of muscular men; he recalls lovers and his mother's cremation. A nurse sits beside him on his last night; in his last breath, he reaches forward and back..
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Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's Staroye I Novoye. It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls. And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, Staroye I Novoye, is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ). Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with Staroye I Novoye. The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel ARTE, natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests. And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.
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是一部1972年的东德苏联保加利亚合拍科幻电影，改编自东德作家 Angel Wagenstein 的同名科幻小说。 八艘太空飞船同时消失三天，Margot空间站也突然无线电失联。Maria 教授和太空理事会被迫下令，直到查明突发事件的原因前，禁止所有飞船离开地球。但一个神秘的「Eolomea计划」逐渐浮出水面，来自天鹅座的信号将把人们引向何方？ 影片评价： 是一部令人印象深刻、节奏紧凑的科幻作品，影片中大胆地运用了非线性叙述，各种叙述线索夹杂其中，并最终交汇在一起。 影片在布景、服装和配乐上下来很大功夫，着力营造出了一个真实的太空旅行时代的乌托邦场景。演员的表演也是非常一流，俄国、东德、保加利亚的演员人物形象塑造得非常立体。尤其是扮演女主角的德国女星，留下不少美颜动人的镜头。 本片同时还有很多值得讨论深思的「终极命题」，比如个人命运与组织的关系；人类的终极使命的问题；官僚体系束缚与理想的关系；机器人的道德与服从，等等问题。