马修麦康纳

剧(💚)情(⛽)梗(👘)概(🔸)：描写(xiě )查理成功地抢劫(jié )了新墨西哥(gē )的银(yín )行，但在抢劫过(guò )程中遇到了(🌃)许(💿)多(㊙)(duō(😦) )意(🕞)想(🔩)(xiǎ(😳)ng )不(🚀)到(🛂)的(📌)(de )事(🎐)，且(👻)这笔钱是黑手(shǒu )党准备抢劫的，这样(yàng )他就成了警方和(hé )黑手党的共(gò(🌄)ng )同(🆎)敌(😻)(dí(🌨) )人(🍺)。最(😩)后(🗺)他(🎹)(tā )凭聪(cōng )明才智将黑手党(dǎng )炸死，并摆(bǎi )脱警方携带赃款溜掉(diào )了。 Archana, an educated daughter of retired principal loves Professor Sukhesh. This love born out of intellectual impact is supported by the fond hopes of her father that leads to matrimonial alliance. Archana's mother is of a different class with materialistic notions of life and she too unwillingly gives her consent to the marriage. Seeds of marital love have not yet flowered into sweet joys of wedlock when whims and ego's of Archana and Sukhesh start clashing. Though a dutiful loving wife of a sweet husband, Archana is very much the daughter of her mother, who with all good intentions intervenes in the day to day life of the couple. Understanding leads to misunderstandings and the lovers start misinterpreting each other's sentiments. This ultimately leads to break in marriage - hence the ultimate- eventual separation. Kora Kagaz answers the struggle of intellectual lovers who find it difficult to enjoy marital bliss. The film is a lesson in both love and marriage. Hot Wins (made in the majority language, Hindi) boldly confronts a problem familiar to every Indian but hitherto 'taboo' in Indian cinema, theatre and literature: the tension between the Hindu majority and the Muslim minority in India, one of the most delicate and sensitive issues in Indian politics. Indian art had conventionally avoided the issue by showing HIndus and Mislims in their own repective communities, with hardly any penetration of each other's worlds. The truth is, of course, less tidy, and Sathyu tries to broach it by looking back to 1947, the year that india was granted independence, when the sub-continent was divided into India and Pakistan. The partition is not only the background and context for the film's plot, but also its main dynamic, since the storyline chronicles the break-up of a large Muslim family in North India as more and more of its members leave for a brighter future in Pakistan. Emperor Raja Raja Chozan seems to count a little too much on his newly-appointed, deceptive minister. But he knows what he is doing. 游侠一条龙(lóng )（王(wáng )羽(📍) 饰(🏏)）(💓)因(🌨)夺(🤮)回一(yī )笔被强盗劫(jié )去之(zhī )救灾巨款而(ér )身负(fù )重伤，藏身于建(jiàn )华武馆，群(qú(🆕)n )盗(🤳)追(🚠)(zhuī(🛵) )踪(📐)而(💜)至(🌠)，杀(🙂)死(🚚)馆(🐿)(guǎ(🌃)n )主(😍)，一条龙安全(quán )逃脱(tuō )，但晕(yūn )倒于青木镇河边，后(hòu )被小杨（许冠杰(jié ) 饰(⛑)）(🤴)所(💙)救(🤚)。小(🐑)杨(💃)独(🖖)居(😦)(jū )河边茅屋，以养(yǎng )鸭为生，与(yǔ )一狼(láng )狗相依为命。盗(dào )首梁成伦获(huò )知巨款被一条龙偷走(👷)(zǒ(🧑)u )，心(♐)头(🌻)愤(🍙)恨，其(qí )时接(jiē )获报告，知青木(mù )园地底有丰(fēng )富的(de )矿藏，派其(qí )手下(xià )往青木园(🚠)开(🥘)赌(🚄)场(⌚)(chǎ(💗)ng )，骗(🤾)取(🌜)镇(🎇)民(🕗)(mí(🔠)n )财(🎤)产(🙌)(chǎn )及房产，以便开(kāi )设矿场。一条龙(lóng )伤愈(yù )，本拟(nǐ )离青木园，得知赌场(🦂)(chǎ(👀)ng )虚(🕡)实(⏮)后(🐎)返(🕸)回(👄)赌(😊)场(🤐)(chǎng )，赢(yíng )回巨款及镇民之(zhī )房产，发还(hái )镇民(mín )，并打散群(qún )贼。梁获悉后大怒，率众高手寻(xún )仇(😞)，但(🐴)一(📧)条(💾)龙(😒)已远去(qù )。小杨因寡不敌(dí )众，惨遭毒手，其狼(láng )狗颇通人性(xìng )，追(zhuī )回一条龙。一条(🚈)(tiá(❤)o )龙(🎄)独(⏩)闯(🔱)虎(⛔)穴(🚛)，把(🕤)(bǎ(🚉) )群(🎙)盗(🌟)消(🎱)灭。 该片(piàn )由奎斯·克里斯(sī )汀贝里执导、好(hǎo )莱坞(wù )著名热(rè )辣女(🔫)星(🍆)托(📁)普(🚟)金(🎅)丝(🔻)与(🥨)一(🈵)(yī(🌘) )群侏儒倾情出演(yǎn )的犯(fàn )罪喜剧，讲述了(le )五个马戏团(tuán )侏儒(rú )帮助强盗美(měi )貌情(qíng )妇抢劫(🔯)银(🧚)行(📋)、(🍳)为(🉐)(wéi )非作歹，最(zuì )后美妇与侏儒头目双(shuāng )双坠入情网的离(lí )奇浪(làng )漫故事。这部电(🧝)(dià(😽)n )影(🤞)首(🤧)次(🔶)动(📳)用(🏺)(yò(🎮)ng )了(🛐)如(⏺)(rú(🌛) )此(👹)多的侏儒(rú )演员(yuán )，而且每个都是(shì )主角，活脱(tuō )脱一(yī )部白雪公主和(➕)七(🚜)(qī(⛸) )个(✊)小(🌊)矮(🍚)人(👭)的(😼)现代(dài )复制(zhì )版，该(gāi )片也成为(wéi )当时越战美(měi )国大兵最喜爱的(de )好莱(lái )坞电影。 Romantic comedy about a pair of clandestine lovers in a London-Spain tryst. Hitler: The Last Ten Days is a 1973 film depicting the days leading up to Adolf Hitler's suicide. It stars Alec Guinness and Simon Ward. The original music score was composed by Mischa Spoliansky. 童年时(shí )代的(🐋)朱(🙁)青(🚏)茂(🥐)(mào )（幼(yòu )年：庹宗华；成(chéng )年：秦汉）曾经(jīng )目睹母亲（李湘）与人通奸，对(duì(📀) )母(🌲)亲(♋)产(🏇)生(🥄)忌(🍓)恨(👰)，父(🔬)亲(🧖)(qī(📳)n )染(🍁)上重症之际，更被母亲的(de )放荡(dàng )行为气死；青茂(mào )因此愤而离家，投奔慈(🗓)祥(❕)的(👢)(de )吴(🐸)伯(🥛)(bó(⏬) )母(👂)（(🀄)张冰玉）。母亲多次想与青(qīng )茂改(gǎi )善关系，但青茂(mào )却避而不见(jiàn )，内心变得扭曲(qǔ )，对(duì )女人(🧢)充(🐌)满(🙃)怀(🚡)疑和(hé )憎恨，在吴(wú )伯母(mǔ )的劝导下，青茂(mào )终于肯去旅馆会(huì )见母亲，撞(zhuàng )见一个(😶)男(🥧)人(🚸)从(📪)母(🏄)亲(🧖)房(🏗)(fá(🌮)ng )间(⚪)走(🕎)出(🛌)来，虽然(rán )最后(hòu )误会化解，母亲(qīn )却再也不愿(yuàn )见他(tā )...。几经波折(shé )，青(qī(😻)ng )茂(😣)毕(⛩)了(😉)业(🏕)要(📆)去(🏌)成(🛅)(chéng )功岭受训，母亲赶来送别，在火(huǒ )车要离开月台之(zhī )际，母亲却被突如其(qí )来的车子撞(zhuàng )倒...。 Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it.