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今时(shí )今(🐳)日，A货以(🈴)假(jiǎ )乱(🐟)真，爱(ài )情(qíng )又呃又［(👽)乙(yǐ )水(🏃)(shuǐ )］！歌(🥇)手刘(liú(🍡) )华(谭耀文 饰(shì ))以模仿(🔻)刘德(dé(🛄) )华(huá )在(🎀)娱乐圈打(dǎ )滚，事业半(😀)(bàn )红不(🔊)黑，经常(⤵)(cháng )遭人取笑为(wéi )A货。而(🌌)他的(de )女(🐱)友妙丽(🧣)(李茏(lóng )怡 饰)更背着(zhe )他(🍾)结识泰(⬛)哥(gē )(魏(🦉)俊杰 饰)等富(fù )豪，哄骗(🈴)他(tā )们(📐)买买车(🏷)，变卖套现后再(zài )以A货(🙁)顶替，最(📙)后惹得(🐫)一(yī )身蚁！芋日他(tā )遇(🃏)上刘德(🌧)华(huá )内(💚)地歌迷阿(ā )诗(蒋雅文(😌) 饰)，刘华(🚲)为了挣(🏂)(zhèng )钱挽回妙丽(lì )芳(fāng )心，主动(⛩)帮(bāng )阿(🕢)诗寻找(🙄)偶(ǒu )像，更不断以(yǐ )假(✔)歌迷会(😳)、假签(🍘)名、假(jiǎ )演唱会门票(🎃)来(lái )
经(📆)过16岁绚(⛱)烂(làn )的夏天之后(hòu )，这(📝)条神奇(👖)的(de )牛仔(🙎)裤一直(zhí )轮流陪伴着(🔩)(zhe )卡门、(🛐)堤比、(📈)莲娜和布莉(lì )姬四个(😓)挚友(yǒ(🈂)u )，她们把(🏖)各自(zì )的经历作为(wé(👣)i )图案绣(🗺)在牛(niú(🔟) )仔裤上，相互(hù )传递和(➗)分享(xiǎ(👨)ng )着彼此(💃)的心(xīn )路历程。3年时(shí )间过去(🕞)了，四个(🙆)女孩子(🚎)(zǐ )进(jìn )入了不同(🥝)的(de )大(🔸)学，有了(😸)(le )新的朋(🤧)友，大(dà )一暑假即将(jiā(🎲)ng )来临，新(🤛)的(de )奇遇(🕠)正在等着(zhe )她们。
Sailor Danny Xavier Smith and two other gobs try to save his sister Susan's virtue. She wants to get a role in the show "Hit the Deck". After wrecking the producers hotel suite, they land in the brig. But Danny's father is a Rear Admiral...
Sergio Martino's 1973 poliziotteschi The Violent Professionals aka Milano Trema – La Polizia Vuole Giustizia doesn't exactly reinvent the wheel, but it's one of the better examples of an overpopulated genre, with Luc Merenda playing the typical shoot-first-so-you-don't-have-to-ask-questions-later maverick cop after the gang that killed his boss and several innocent bystanders. Like I said, it doesn't exactly reinvent the wheel, but it does make sure it keeps turning fairly efficiently for 104 minutes. It's not as good as its enthusiastic cult reputation implies, not least because the big twist about the motive behind a series of gratuitously violent bank robberies isn't exactly surprising (like the Red Brigades of the day, the robbers are more interested in spreading chaos than getting rich), but it does get extra points for being one of the few films where, when a car crashes over a hill, it doesn't explode in a ball of fire on the way down. There's also a great spin on the omnipresent car-driving-through-stacks-of-empty-crates shot in one chase scene by having Merenda's car drive through stacks of burning crates that was so popular the footage was reused in at least two other movies (Milano Odia: La Polizia Non Può Sparare and Roma a Mano Armata). Richard Conte is the contractually obligatory American co-star, acquitting himself well despite some hilariously obvious doubling in a fight scene, Tinto Brass regular Martine Brochard makes an attractive junkie and there's a catchy De Angelis brothers score.
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.
故(gù )事(👓)的主人公是(shì )一位高(🤮)中女(nǚ(🚚) )孩，在加(🐰)入(rù )了一个激进的(de )女(🎟)权俱乐(🌭)部(bù )后(🌰)，她开始(shǐ )逐渐找到了(🐟)自(zì )己(🦑)的人生(♒)目(mù )标……