Ames
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导演:
/迈克尔·克莱顿
主演:
剧情:
描写洛杉矶的一家外科整型医院,常有众多美女前来求诊,希望整容后成为名模。不料别具野心的院长利用一个神秘的黑箱来窥视这些女顾客,其中一些人又发生离奇死亡。阿尔伯特·芬尼饰演的医生涉有重嫌,他决定追查真相还自己清白,终于发现了院长詹姆斯·科伯恩的阴谋...
◎ 影片介绍:
本片是侏罗纪公园原著编剧迈克尔.克里奇顿早期自编自导的惊险悬疑片。描写洛杉矶的一家外科整型医院,常有众多美女前来求诊,希望整容后成为名模。不料别具野心的院长利用一个神秘的黑箱来窥视这些女顾客,其中一些人又发生离奇死亡。阿尔伯特.芬尼饰演的医生涉有重嫌,他决定追查真相还自己清白,终于发现了院长詹姆斯.科伯恩的阴谋。众多美女的加盟和刺激的偷窥镜头,无疑是本片吸引观众眼球的亮点。本片与克里奇顿的另一部作品《八号房禁地》题材类似,导演风格和娱乐效果也相若,倘若你知道他原是医生出身的畅销作家,也...
导演:
/约翰·帕斯昆
剧情:
美国纽约长岛住着这样一家人。父亲杰森•西弗(艾伦•锡克饰)是一位心理医生。为了支持妻子玛姬•马龙•西弗(乔安娜•柯恩斯饰)重新回到记者的工作岗位,杰森毅然决定将心理诊所搬到自己的家里。而这样,他也有了更多的时间与他的三个孩子相处:15岁的大儿子迈克(柯克•卡梅隆饰)是十足的捣蛋鬼,不务正业的他经常让家里感到烦恼;14岁的二女儿凯萝(特蕾茜•格尔德饰)是优等生,但学习优秀的她似乎有些不食人间烟火;小儿子本(杰瑞米•米勒饰)是机灵鬼,有时与大人一样成熟的他实际还是一个9岁的孩子。杰森提倡的启发式教育,在这个家庭起到了极大的作用,一家人和睦相处。爱与成长的故事伴随着欢笑,这就是西弗一家的故事,成长的烦恼。
导演:
/维卡斯·巴尔
剧情:
从小到大,兰妮(康格娜·拉瑙特 Kangana Ranaut 饰)都过着大事小事皆由父母安排妥当的生活,虽然没有什么惊喜,却也没遇见过什么挫折,然而,命运在她婚礼的前一天开了一个恶意的玩笑,本该在第二天成为兰妮丈夫的那个男人居然后悔了。
伤心和愤怒之中,兰妮决定离开家人,只身前往法国,用一场说走就走的旅行安慰自己受伤的心灵。在巴黎,兰妮经历了许多的人生第一次,亦结识了许多热情奔放的朋友,渐渐的,她开始意识到,原来在家门之外,天地是如此的广阔。不知是偶然还是天意,在阿姆斯特丹,兰妮竟然偶遇了当初悔婚的前男友,对于自己莽撞的决定,前男友向兰妮表达了歉意与后悔,希望同她重修旧好。
导演:
/达恩·科科塔杰洛
剧情:
As devout Jehovah's Witnesses, sisters Alex and Luisa and their mother, Ivanna, are united in The Truth. Alex looks up to her confident older sister, while striving to follow in Ivanna's footsteps as a 'good Witness'. But when Luisa starts to question the advice of the Elders, she makes a life-altering transgression that threatens to expel her from the congregation. Unless Ivanna and Alex can persuade her to return, they must shun her completely. This challenge becomes more painful when their family is faced with another heartbreaking test of faith. Written and directed by Daniel Kokotajlo, a former Jehovah's Witness, Apostasy provides rare insight into the complex nature of faith, family, duty and love.
导演:
/约瑟夫·罗西
剧情:
ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.
导演:
/凯特·连恩
剧情:
爱莲娜(Chloe Partridge 饰)是家中的独生女,集万千宠爱于一身的同时,也背负了来自父亲的期望和压力。爱莲娜的父亲是一位非常古板而又严厉的男人,在父亲的严苛管教之下,爱莲娜的个性变得顺从又乖巧,只是,这种顺从是被迫而为之的,实际上,这样一种生活令爱莲娜感到绝望和窒息。
一次偶然中,爱莲娜邂逅了名为艾雷西亚(莉莉·拉芙莱斯 Lily Loveless 饰)的女孩,艾雷西亚完全就是爱莲娜的对立面,她性格大大咧咧充满个性,总是就这自己的性子做事,不在意任何人的眼光。爱莲娜喜欢和艾雷西亚一起玩,只有跟她在一起的时候,她才能感受到什么是自由。
导演:
/桑德拉·戈尔德拜彻
剧情:
《贪婪》和《难得幸福》的SteveCoogan确认出演BBC1台的剧情剧《清算》(TheReckoning),挑战一个充满争议的“丑闻型”故事。这个项目从2020年10月确认开发时就曾经遭到质疑,但如今随着Steve将领衔主演的选角确认,该剧依然在轨道上保持运行。剧集聚焦了JimmySavile的故事,作为初代唱片骑师、资深音乐节目主持的电视名人,Jimmy曾经享受了许多成就,也获得过大英帝国勋章的表彰;但在2011年于84岁去世之后,2012年一个纪录片展开的调查却揭开了更丑陋的事实:从上世纪六十年代起,他开始有对未成年人进行不当接触的行为。而BBC的默许以及彼时糟糕的业态文化,让他更加肆无忌惮,将魔爪伸向了更多的年轻女性,甚至是75岁的精神障碍患者;超过450人就其的行为展开了投诉与报告。而2016年的一次调查显示,有11位受害者甚至年龄小于12岁。曾经与Steve在《斯坦和奥利》合作过、也同样担任本剧主创的编剧JeffPope,认为这是个值得重述的故事。它不仅仅关于恶行,也会去审视为何Jimmy能够在生前相干无事。BBC的戏剧部门也提到了此次剧作化的意义,表示这将会是一个回顾自身的机会,也要让更多人的声音可以被听到。