哈德逊岸边的海德公园
2.0 |06月29日 |已完结
简介:
故事发生在1939年的美国,罗斯福(比尔·默瑞 Bill Murray 饰)邀请英国国王乔治六世(  萨缪尔·韦斯特 Samuel West 饰)和伊丽莎白王后(奥莉薇娅·柯尔曼 Olivia Colman 饰)来他位于纽约哈德逊岸边的海德公园的府邸作客,这是英国国王第一次于在任期间造访美国,此时的英国正在遭受德国的威胁,因此,这次拜访对于国王和王后来说至关重要,他们想要争取到美国对于英国的军事支援。  罗斯福的远房表妹黛西(劳拉·琳妮 Laura Linney 饰)也来到了表哥身边,帮助他打理宴会的事宜,这使得黛西从头至尾见证了这一前所未有的伟大外交事件。罗斯福和黛西更是因为这次合作而碰撞出了火花。
猜你喜欢
换一换
婚姻故事
872
6.0
已完结
婚姻故事
6.0
更新时间:06月29日
主演:斯嘉丽·约翰逊,亚当·德赖弗,劳拉·邓恩,艾奇·罗伯逊,梅里特·韦弗,阿伦·阿尔达,朱丽·哈基提,雷·利奥塔,马克·奥布莱恩,华莱士·肖恩,凯尔·柏海莫,米奇·萨姆纳,马修·马希尔,罗伯特·斯密戈尔,艾登·梅耶里,布洛克·布罗姆,玛莎·凯莉,阿尔伯特·琼斯,汉娜·邓恩,桑德拉·罗斯科,麦金利·贝尔彻三世,戈登·格里克,马修·希尔,阿米尔·塔莱,萨拉·琼斯,文尼·希伯,胡安·阿方索,洛蕾塔·谢诺斯基,滕德·艾德比佩,贾思敏·赛法斯·琼斯
简介:讲述了结婚多年并育有一子的戏剧导演查理和女演员妮可因工作分居而不得不走向离婚,在这场为了争夺抚养权的离婚拉锯战中,关于爱情、婚姻和家庭真实感人的细枝末节牵动人心。两人的关系又将何去何从?
3270
2019
婚姻故事
主演:斯嘉丽·约翰逊,亚当·德赖弗,劳拉·邓恩,艾奇·罗伯逊,梅里特·韦弗,阿伦·阿尔达,朱丽·哈基提,雷·利奥塔,马克·奥布莱恩,华莱士·肖恩,凯尔·柏海莫,米奇·萨姆纳,马修·马希尔,罗伯特·斯密戈尔,艾登·梅耶里,布洛克·布罗姆,玛莎·凯莉,阿尔伯特·琼斯,汉娜·邓恩,桑德拉·罗斯科,麦金利·贝尔彻三世,戈登·格里克,马修·希尔,阿米尔·塔莱,萨拉·琼斯,文尼·希伯,胡安·阿方索,洛蕾塔·谢诺斯基,滕德·艾德比佩,贾思敏·赛法斯·琼斯
魔鬼女大兵
762
8.0
已完结
魔鬼女大兵
8.0
更新时间:06月29日
主演:黛米·摩尔,维果·莫腾森,安妮·班克罗夫特,杰森·贝盖,丹尼尔·冯·巴根,约翰·迈克尔·辛吉斯,凯文·盖奇,大卫·沃肖夫斯基,大卫·瓦迪姆,摩里斯·切斯塔特,乔什·霍普金斯,吉姆·卡维泽,博伊德·肯斯特纳,斯科特·威尔森,卢辛达·珍妮,Donn Swaby,杰克·格沃尔特尼,尼尔·琼斯,斯蒂芬·门迪洛,John Seitz,哈利·哈姆弗瑞斯,迈克尔·柯里,阿瑟·马克斯,Scott Helvenston,菲尔·尼尔森,迪米特里·迪雅特琴科,Hashem Shaalan,克里斯索尔,Joseph Makkar
简介:作为一枚政治筹码,海军情报官欧尼尔(黛咪·摩尔 Demi Moore 饰)成为了美国历史上第一个参加特种部队“海豹突击队”训练的女性军官。凭借此事,一直呼吁男女平等的参议员狄海雯(安妮·班克罗夫特 Anne Bancroft 饰)获得了诸多选票。然而,利欲熏心的狄海雯根本就不关心欧尼尔作为个体的感受和遭遇,因为她心里明白,欧尼尔根本不可能完成特种部队里残酷而又可怕的训练。  让所有人大吃一惊的是,欧尼尔不仅出色的完成了训练任务,甚至有可能通过最终考试成为特种部队正式的一员,在此节骨眼上,狄海雯只得使出阴招,以欧尼尔为同性恋的虚假理由将其逐出了队伍。在朋友的帮助下,欧尼尔揭穿了狄海雯的阴谋,不仅如此,她还一次实战任务中凭借着自己的智慧大展拳脚,获得了同伴的尊重。
6568
1997
魔鬼女大兵
主演:黛米·摩尔,维果·莫腾森,安妮·班克罗夫特,杰森·贝盖,丹尼尔·冯·巴根,约翰·迈克尔·辛吉斯,凯文·盖奇,大卫·沃肖夫斯基,大卫·瓦迪姆,摩里斯·切斯塔特,乔什·霍普金斯,吉姆·卡维泽,博伊德·肯斯特纳,斯科特·威尔森,卢辛达·珍妮,Donn Swaby,杰克·格沃尔特尼,尼尔·琼斯,斯蒂芬·门迪洛,John Seitz,哈利·哈姆弗瑞斯,迈克尔·柯里,阿瑟·马克斯,Scott Helvenston,菲尔·尼尔森,迪米特里·迪雅特琴科,Hashem Shaalan,克里斯索尔,Joseph Makkar
欧洲的某个地方
32
1.0
已完结
欧洲的某个地方
1.0
更新时间:06月29日
主演:Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
简介:Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.  To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.  At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.  Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
665
1948
欧洲的某个地方
主演:Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
评论区
首页
电影片
连续剧
综艺片
动漫片
在线聊天