2012迅雷

An office worker named Dorine is called upon to do late work; her computer breaks down and she asks the help of a co-worker, Gary Michaels, who is electrocuted while trying to fix the wires. Dorine dials 911, but hangs up when the call is answered. She places the corpse on a cart, rolls it down to her car, loads it in her trunk, and takes it home, placing it in her furnished basement (we don't see the body until later). Then, seemingly without reason, she goes into a murder spree. She kills Virginia[who?] by poisoning her inhaler tube, taking the second corpse to her basement, placing it on a sofa, next to Gary's. Then comes the turn of two young Girl Scouts who arrive at her door to sell cookies. The young girls join the other corpses in the basement, Dorine seen eating the cookies with relish while working on her new laptop. Intriguingly, she sends messages from Gary to the remaining office workers, implying he is alive and has left the office or his wife. There are three more murders before the movie ends, all planned with cool design and seeming absence of malice. The last scene shows Dorine, after her mother's death, setting fire to her basement, then, sporting a blond wig, driving away in her car, circling a newspaper ad with her pencil for an office job, a look of triumph in her face.(From Wikipedia) 菲(fēi )尔的苦恼是突然发现(xiàn )他(🥖)的毛发(🚙)发疯一(🎬)样(🅰)的(de )生(😨)长，一小(😈)时不修(🦁)理(lǐ )就面目(mù )全非！年轻的家庭主(zhǔ(🖌) )妇凯瑟(👋)(sè )琳一(🍅)天(🤨)掉了(⏺)钱(qián )包(🎮)(bāo )、呼(🈳)(hū )机和手提，此后，她(tā )就不断的接到一个陌(🌖)(mò )生女(🐇)子(✅)(zǐ )打(🌎)来的电(🛵)话，这个(🌏)女(nǚ )子就是一天24小时带着(zhe )墨镜的(de )特瑞。 Thomas Arslan's second feature film and part of his Berlin-trilogy is a slow-paced milieu study of German-Turkish youth in Berlin-Kreuzberg. The film depicts the every day life, domestic conflicts, dreams and disappointments of three siblings and their aimless, meandering strolls through the Kreuzberg district. The family itself encapsulates the culture clash that is at the centre of many German-Turkish films. In Arslan's film, the mother is German, the father is Turkish and the children have to make up their own minds about their cultural allegiances. Seventeen-year-old Leyla tries to escape from her family by spending most of her time with her best friend Sevim. Her twenty-year-old brother, Erol, has chosen Turkish citizenship and, consequently, has to do military service in Turkey. His mother objects but Erol finds the prospect of continued unemployment and mounting debts, which he cannot repay, in Berlin far more threatening than the prospect of military service in Turkey and leaves. Eighteen-year-old Ahmed is the is about to do his 'Abitur' (final exams at secondary school) and, despite being the most 'assimilated' of the three siblings, finds the experience of living in between two cultures difficult. 菲尔(🎭)的(de )苦(kǔ(😼) )恼是(shì(🎁) )突然发(👬)现他的(🦂)毛发发(fā )疯一样(yàng )的生长，一小(xiǎo )时(shí )不修(🚐)(xiū )理就(🗒)面目全(🌀)非(🐸)！年轻(🏼)(qīng )的家(⛄)庭主妇(🥕)凯瑟琳一(yī )天掉了(le )钱包、呼机和(hé(🐺) )手(shǒu )提(🙎)，此后，她(🎣)就(😕)不断(😡)的接(jiē(😺) )到一个(🏢)(gè )陌生女子打来(lái )的(de )电话(huà )，这个女子就是(🌗)一天(tiā(🤖)n )24小(💡)时带(🥥)着墨镜(🕧)的特瑞(🗯)(ruì )。 杰西(xī )，JP，蒙蒂，诺伐卡，奎恩，拜克斯特六人(ré(♑)n )几年前(🤓)(qián )一起(🎾)策(🧡)划抢(🏛)得(dé )一(🚵)(yī )笔赃(zāng )款，将其藏在乌鸦岭(lǐng )并相约(yuē )几(🦉)年后一(⛳)起均(jun1 )分(🐗)(fè(🔛)n )。可(kě(🤑) )是拜克(💵)斯特突(⛩)然入狱(yù )，其余五个人害怕他(tā )说出当(dāng )年(🥧)藏赃款(😢)的(⚓)地(dì(✍) )方(fāng )而(📭)决(jué )定(🎃)提前去挖钱分赃。然而当(dāng )他们按照当初(chū(🌕) )画(huà )的(🎯)地(dì )图(🏔)到达埋(😾)钱的地(🎁)方时(shí )，突然发现原先的地(dì )貌完全(quán )变了(🐡)，是大自(🙋)然在捉(⛱)(zhuō(⤴) )弄他(😡)们还是(🤙)有人对地(dì )图动了(le )手脚？正当每(měi )个(gè )人(📲)在(zài )各(🏰)自猜疑(🤟)时(🔺)，蒙蒂(😚)突(tū )然(〽)被暗(à(🉐)n )箭射死，剩下(xià )西人惊(jīng )慌逃跑，然而隐身杀(🎄)(shā )手又(😟)相(⛱)继杀(🤶)死了诺(💲)伐(fá )卡(🍌)和奎(kuí )恩，五个人只(zhī )剩(shèng )下杰(jié )西和JP，此时(🍙)隐身杀(😨)手(shǒu )出(💿)现……(🎴) 砲撃・(✊)銃撃(jī )の嵐 ! Harold is a tour bus driver. While visiting a good friend in a trendy Hollywood cafe, Harold spots his favorite actress, Amanda Clark. She is with her agent Sidney Stone who is repeatedly getting up to make phone calls. When Harold sees Amanda sitting alone, he decides to introduce himself. Instructed not to mention his profession to her, Harold doesn't correct Amanda when she mistakingly assumes he is a writer. When she asks who his agent is, Harold innocently throws out the name of super-agent Arthur Blake. Amanda is impressed and charmed, and to Harold's amazement she proposes a date to discuss her next movie with him. As their relationship grows, so must Harold's charade to keep Amanda from discovering he is a Beverly Hills tour guide and not a hot-shot writer. He promises Amanda a script rewrite and convinces Arthur Blake to represent him. Harold's father is not so easily swayed, and tells Harold to snap out of it, "We show people movie star's homes, we do not date them!" With a rewrite deadline looming, an actress swooning, and his whole world rocking, Harold must choose what to write as well as do what is right. ~Written by Corey Nook {queen@iastate.edu}