备注:已完结
类型:喜剧片
主演:Sara Ciocca 克里斯蒂安·德西卡 Diletta Leott
导演:亚历山德罗·西亚尼
语言:意大利语
年代:未知
简介:新·座头市物语/新・座頭市物語 (1963) 电影海报(bào )1963年日本田中德三执导的电影,1963年03月15日上映。123剧照第46章-酒馆内-晚上淡入约翰举起双手,手掌向前。康(kāng )斯坦丁:如果你现在把它干掉,这该死的东西会在新的地方复活,再次杀戮。朱迪斯:我会在那把它干掉的。再一次。她从约翰身边(biān )走过,准(zhǔn )备去斩首雷吉。她举起刀,约翰捡起掉落的砍刀,举起刀刃阻止她的打击,以免击中被(bèi )捆绑的雷吉。朱迪斯不敢相信。朱迪斯(继续):你在保护(hù )它(tā )?!康斯坦丁:我在保护你……从你自己(jǐ )。朱迪斯的理智的弦断了。她简直是在尖叫。朱迪斯:你这个傲慢的假正经!在一阵愤怒中,朱迪斯转身向约翰挥动她的武(wǔ )士刀(dāo ),约翰举起砍刀自卫。就这(zhè )样,约翰发现自己正在与他最亲密的
备注:已完结
类型:美剧
主演:José Báez 格兰特姆·科尔曼 托尼·丹扎 Greg Stuhr
导演:未知
语言:英语
年代:未知
简介:在现实题材扎堆的今天,还能看到(dào )《三贵情(qíng )史》这样一部爱情童话电影真是很难得,毕竟电影本身就是给人(rén )造梦的。影片借用童话的外衣展现了成年人的爱情故事,天真与成熟相映成趣,天上与人(rén )间相(xiàng )互交织,打通了现实与童话之间的联结,经典童话映射的现实爱情别有一番风味(wèi ),加上梦境般的色调和欲言又止的情节,着实让(ràng )人思忖爱(ài )情的真谛。影片用非常温暖的色调,和十分童话风格讲述了(le )三贵三段不同角度的爱情故事。人间男孩王三贵被云上天国赌场的天神们选中。天神们发起了一场关于“真爱是否存在”的赌约(yuē ),对三贵施予了一个特殊的诅咒:凡是被他亲(qīn )吻的(de )活物,关晓彤、张一山(shān )、范丞丞等合作出演的《曾少年》质量不错但热度(dù )不高,相信很多观众在看(kàn )这部剧的时候,都仿佛(fó )自己重新走过了一遍(biàn )青春。在此之前有一部电视剧《曾少年(nián )之小时候》,在这部剧中给大家讲述(shù )了主角团的小时候发(fā )生的故事(shì ),这个孩子是一起在北京的大院里长大的,因为从小就认识,所(suǒ )以感(gǎn )情都非常好,但长大之后,很多感情开始悄然发生变化,他们之间有是否能够一如从前?无论是小(xiǎo )时候还是长大之后的故事线,几位主演的演技都是全程在线的,张一山和关晓彤都是北京人,所以他们在带入角色的过程中是比较顺利的,两人在小时候就曾有过合作,之前张
备注:已完结
类型:爱情片
主演:卡米拉·门德斯 J·B·斯穆夫 弗兰切丝卡·雷阿莱 比安卡·孔帕拉托
导演:鲁迪·曼卡索
语言:英语,葡萄牙语
年代:未知
简介:能(néng )同时体验看电影和音乐剧的坐牢。装饰性chocolate只能有食缩力。本来是典型合家欢(huān )看个乐的影片(piàn )结果和(hé )朋友一起看得“C属性大爆发”——槽(cáo )点很(hěn )多,以下:“音乐剧电影”真的很玄乎啊 好,歌曲为情节人物添(tiān )彩事后成为经典歌曲反复循(xún )环;不好,歌舞突兀曲没记忆点词生涩干瘪(biě )此片显然是后者。但个人最不能忍受的是低俗的扁形人物设定,充满刻板印象的主角团和反派——真是从这里抄一个人那里再改一个人啊情节上(shàng )也如此干脆直接照搬些HP的设计。制片人完全没用心啊(扶额)。终究还是立意问题,浮于歌舞片奶头乐的表面,本来有阶
备注:已完结
类型:综艺
主演:Bob Dylan Joan Baez Judy Collins
语言:英语
年代:未知
简介: "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 command 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 becoming. 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 comment. 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 committed 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.