Ryan has spent years putting his brutal past behind him. A different man now to the stone cold killer he was a lifetime ago. But when an old face from the past arrives on his doorstep, Ryan is called upon to repay a blood debt from years ago. But the price is too high. Betrayed, and with his life falling apart around him, Ryan goes on a murderous, bloody revenge spree against the Ten Men who took his life away from him. Ten men took away his life. Now Ten Men Will Pay. Ten Dead Men is a pulse pounding British action feature, brought to you by the team behind the cult international success 'Left For Dead'. Written by Phil Hobden
A low-tech FX film about the horrors of war and robots.
A broken-down sheriff is forced to join forces with an obsessed Victorian vampire hunter to defeat an undead force consuming a small frontier town in 1892 New Mexico.
就(🙈)在(zài )Wilby小镇迎接(jiē )大型博(😏)览会的(de )时(🏜)候，当(dā(⬛)ng )地(🐢)却陷入(rù )了(le )同性恋和毒(🙁)品(🏛)丑闻，而(😻)当地报纸(🍡)(zhǐ )也将刊发(fā )涉(shè )案人(🌱)员(🙉)的名单(🐠)。卷入(rù )同(⬜)性恋丑闻(wén )的Dan Jarvis有意安(ān )静(✳)地自杀(📨)，但(🕙)(dàn )多次尝试(shì )都别人无意(yì )中打(🥅)断。Carol French是忙(📖)碌(🎞)的房屋中介，准(zhǔn )备向市长(zhǎng )Brent Fisher出(chū(🛂) )售已故(👌)婆(❓)婆的房子，同时也负责(zé(🔕) )此次镇上(🚃)(shàng )活动(🕛)的(🍂)监督工(gōng )作。她的(de )丈夫、(🍧)心地(dì )善(🛎)良的Buddy French是(🎄)(shì(😘) )镇上的警官，与同事Stan负(fù(😣) )责(🤠)调查该(🧀)(gāi )丑(chǒu )闻(🛤)。但Buddy却与前高中同(tóng )学Sandra Anderson，Emily Anderson的(🧕)母(♎)亲(qīn )有(🎋)染。Emily瞧(qiáo )不(😁)(bú )起母亲的所作所为，期待(🤥)自己的(🦀)(de )爱(👬)情能够(gòu )有所收获。Duck MacDonald是(shì )镇上的勤(🚑)(qín )杂工(🏂)，也(💹)是(shì )个同性恋(liàn )者。活动所需的横(😽)幅本(bě(🚃)n )应(💇)为Wonderful Wilby，但(dàn )却(què )被他弄成Wilby Wonderful，同(♒)时也是(shì(💈) )本片的(😫)标(➡)题(tí )。
整形外(wài )科医师小(💾)鸟田(tián )雄(🌼)志（加(📶)(jiā(➿) )藤雅也 饰）俊朗潇洒(sǎ(🏦) )，医(🏥)术高明(❤)，因曾为诸(🐯)(zhū )多演艺圈(quān )明(míng )星施(🆕)行(🥍)手术而(🥕)声名显(xiǎ(🕊)n )赫，更被公(gōng )众称为“上(shàng )帝(📮)之手”。而(📯)这(😴)个风(fēng )华正茂并且(qiě )做得一手(shǒ(🍦)u )好菜钻(🙂)石(🎖)王老(lǎo )五却有着(zhe )鲜为人知的(de )自卑(🎱)经历(lì(🍏) )，某(😟)天一个不经意的决(jué )定(💜)改变了(le )他(🦑)(tā )的人(📹)生(⛏)。
讲述50年代的(de )美国，一个(gè(🏛) )受自由开(🆒)(kāi )放教(🔗)育(🗨)的年轻(qīng )女孩搬到(dào )乡(🦉)下(🔜)保守的(🙍)(de )浸礼会教(🐏)(jiāo )友社区，逐渐成熟的故(📛)(gù(🚺) )事。改编(🤛)(biān )之(zhī )Sarah Willis 的(😩)小说。1954年，15岁的Tamara Anderson 厌(yàn )倦了和其(🥞)父(fù )母(🥞)、(🐻)兄弟(dì )姐(jiě )妹漂离的生活。于是(shì(🏻) )他们租(🕢)下(💻)了(le )一幢乡村(cūn )农舍，发现其(qí )主人(〽)在17岁(suì(🔠) )的(🙅)儿子死(sǐ )在(zài )家中后就(🗑)(jiù )搬了出(👪)去。Tamara起初(🕹)对(🕋)男孩(hái )死在自己(jǐ )的(de )卧(🍁)室很是震(🐴)惊，不过(🚺)(guò(👇) )一家人开始(shǐ )去适应新(🈳)(xī(📜)n )的环境(💌)，与邻(lín )居(🥫)交友，学习如何给(gěi )与房(⬛)子(🌩)一(yī )同(🔤)租下来的(🆔)奶牛挤奶。不过在当(dāng )母(mǔ(🔼) )亲被诊(📠)断(🕙)出结核病，送到疗养院(yuàn )康复时，家(📹)(jiā )庭开(💨)始(❣)支离破碎。维(wéi )多利亚电影(yǐng )节参(🖐)赛作(zuò(🖲) )品(🐤)。
A murderous barber and his equally psychopathic friend, a baker, hatch a plan whereby the barber murders people and the baker makes them into pies to be sold in his shop.
法国电影(yǐng )先驱,影史(shǐ(🔞) )最伟大的(🥂)(de )导(dǎo )演(⛩)之(😑)一雷(léi )蒙德·伯纳德代(🐒)表作！影片(💞)以第(dì(🐝) )一(😍)(yī )次世界大战为背景，讲(🍁)述(🐿)一个法(🈚)(fǎ )国军人(🔊)经(jīng )历了战争之后(hòu )的醒(🌏)悟。作为(🈺)一部1932年(nián )的影片，它既没有带上过多(🐲)的默(mò(⚓) )片(🥨)手法，也(yě )避免了有声片初期的(de )一(👻)些通病(🔆)，是(🚻)一部相(xiàng )对(duì )成熟的有声电影。
Not as good as I expected
Included in Jonathan Rosenbaum’(💋)s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’(⏯)s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran.