算上“Gone，But Not Forgotten”、“Love Life”，这是导演Michael D. Akers第(🔫)三(sān )次(🚚)执拍同(🕣)志题材(🚂)(cái )的(de )电(👉)影了。Akers习惯运(yùn )用高密(mì )度(dù )的画(🌵)面营造(🍂)视觉(jià(♐)o )效果，他(🔓)的人物(⚡)角(jiǎo )色也以(🚩)(yǐ )往往(🛁)复杂而(🖌)充满(mǎn )立(lì )体感。“Phoenix”中每(měi )个角色都(🤝)被导演(🏒)赋(fù )予(👀)了象(xià(😕)ng )征意义(🔪)，水，大地(dì )，风和火。导演(yǎn )希(🍱)(xī )望用(🛡)4种元素(🦕)来解(jiě(🎐) )构爱情(🍒)(qíng )的真正含义。
Ciao Bella是一(👷)(yī )部关(🔥)于寻找(😵)爱情(qíng )和(hé )为爱挣扎的故(📐)事(shì )。按(💃)照(zhào )好(🌇)(hǎo )莱坞(💠)电影的(⏱)传统(tǒng )模式，镜头跟随(suí )2个(gè )16岁的(🌻)年轻人(🍇)脚步(bù(🐭) )发展。有(💸)(yǒu )时在(👖)你16岁的时候(🏣)(hòu )，你就(♉)面临着(🕛)人生(shēng )的重大(dà )抉择。Mustafa Moradi非常想有(yǒ(🥦)u )个(gè )女(🔈)友，但是(💭)他认(rè(🔰)n )识的女(😫)孩却只把他(tā )当普通(tōng )朋(🥅)友。他突(😳)然想到(🍛)(dào )了一(👱)个自认(🚒)为聪(cōng )明(míng )的法子(🈶)，就是假(🔛)(jiǎ )装成(🥂)浪(làng )漫的意大利人，一(yī )个(🎑)充满各(🕯)种可能(🚣)(néng )性(xì(🌡)ng )的世界(🖌)出现了。在城市(shì )的(de )另一端，Linnea 也在寻(🌵)(xún )在着(😽)她生命(🖍)的另(lì(🥝)ng )一(yī )半(🥩)，作(zuò )为生活(💤)在(zài )一(👵)个很(hě(😁)n )落(luò )魄社区的瑞典女(nǚ )孩，这可不(🥠)是一件(🥗)(jiàn )容易(⛔)的(de )事情(💿)。可是事(🐎)无(wú )“绝对”，她就这(zhè )么遇上(👐)了这位(🚺)浪漫(mà(🎷)n )的意大(🔧)(dà )利青(🙇)年“Massimo”。
在他(tā )的女儿Ema的(❄)葬礼之(🐢)(zhī )后(hò(🙈)u )，Frank Osorio第一次旅行到(dào )布宜诺(nuò(💁) )斯艾丽(🔈)斯去告(🛒)诉他(tā(🚕) )的外孙(🚑)女Alina，有关(guān )母(mǔ )亲的死讯。不过(guò )Frank怀(🥃)揣有(yǒ(🌛)u )两(liǎng )个(👽)大秘密(😂)：第一(yī )个是关于(😊)Alina父亲的(🗑)(de )身(shēn )份(🚞)，而(ér )第2个与犯(fàn )罪有关(guān )。
迈克尔(🗻)是一家(🀄)老(lǎo )年(👬)公寓的(🏔)护理员(🍔)，曾经为(wéi )了照顾母亲而辍(🦑)学(xué )，现(🗂)在，他的(🙀)护(hù )理(👱)对象是(🏕)埃斯特。在他的(de )关心(🚢)和照顾(🎐)下，忧(yō(⭕)u )郁的老人脸上有(yǒu )了(le )笑容(🤗)。迈克尔(🔣)的(de )女友(🚻)费(fèi )伊(🥛)聪明漂(🥅)亮，她的(de )父亲认为迈克尔(ěr )配(pèi )不(🖐)上自己(♍)的女儿(👀)(ér )，劝他(📝)(tā )离(lí )开费伊。迈克(🐎)尔(ěr )感(⛰)到非常(🌠)痛苦。埃(āi )丝特知(zhī )道后，向(xiàng )他讲(🕷)述(shù )了(🀄)(le )自己的(🛂)故事：(📆)原(yuán )来(🐧)，这位风烛残年(nián )的老人(ré(💨)n )年轻时(🅿)也曾有(🦓)过一(yī(🧝) )段刻骨(🔁)铭心却又(yòu )充满遗(💼)憾的爱(🌰)情。现在她(tā )唯一的愿望是想找(zhǎ(👖)o )到依旧(🎆)惦念的(➗)恋(liàn )人(👣)(rén )，看看(🚯)他生活得(dé )怎么样(yàng )。迈克尔决心(🚶)帮助(zhù(👃) )埃斯特(🐓)实现这(🖤)个(gè )愿(yuàn )望，然而，当(🎰)他(tā )们(🌊)终于(yú(🌬) )找(zhǎo )到埃斯特阔别多(duō )年的恋人(🌔)，却发现(🐋)(xiàn )坐在(🍏)面(miàn )前(😣)的是一(yī )个老年(nián )痴(chī )呆症的患(✳)者。这(zhè(🙄) )使迈克(🚅)尔深受(🧞)震动(dò(🍂)ng )……离(lí )别的时刻(🔣)终于到(🧘)来(lái )了，临终的埃丝(sī )特将当年自(🐐)己的定(🔙)(dìng )情物(📂)交(jiāo )给(🚁)迈克尔(🤩)，希望那(nà )个链坠和戒指给(gěi )他(tā(🛤) )带来幸(🏢)福……(🐧)
Sci-fi is a rapidly changing genre. It loses impact even more rapidly than horror. Therefore it's virtually impossible to see a sci-fi movie from the past (from the pre-space period, i.e. late 50s) that isn't laughable in some sense. First serious sci-fi epics appeared in the very early 50s, and bearing in mind the first space yarn was filmed by Melies in 1902, we get about 50 years of sci-fi without the very basic concepts of space travel. Where The Trip To The Moon can be dismissed as a funny experiment, The Trip To Mars cannot. This is a serious film. The makers didn't know about weightlessness or the absence of atmosphere in space, plus about a hundred more things we know today. That was the period, when everybody was raving about the channels on Mars, so they naturally assumed there was intelligent life on that planet. Melies shows frogmen and other strange creatures on the Moon; in 1924 there appears the still popular tinfoil dress for Martians in Russian film Aelita. So, in between, we get the Egypto-Greek fairy-tale world of this film: wise old priests being wise; and virgins prancing around, praising virtue in the world, where virtue obviously is as normal and unnoticeable as metabolism. Enter the Earthlings, introducing death and sin. Well, nothing spectacular follows: they soon are "cured" and learn the ways of the righteous. This film is a total orgy of enjoyment. The double feature released by the Danish Film Institute (together with a disaster film from 1916, The End Of The World) boosts their usual superior quality. The Danes began storing and archiving their films very early, so you get a very clean second generation copy from a period when most of US films withdrawn from circulation went to the glue or comb factory. It's a pity this film with so many different locations isn't color tinted. The rather uninspired piano accompaniment, another trade mark of the series from the DFI, tends to grow a bit tedious too. But nevertheless, a remarkable film and something you can show to your friends without being afraid that they'll think you're a weirdo.
本(běn )片(🚭)翻拍(pāi )自1971年的英国(👏)恐怖片(🧚)(piàn )《德拉(👫)库拉女伯(bó )爵(jué )》，根据真实事(shì )件(🚯)改编(biā(🐥)n )，由德尔(💭)贝自编(🐿)自(zì )导自演。
钱王钱通(tōng )（李修(xiū(💔) )贤）运(🐤)用(yòng )金(⚡)钱与(yǔ(😡) )拳(quán )头(🔡)几乎控制了一(yī )切(🐥)行业，并(🍩)为所欲(yù )为，只(zhī )有号称铁胆拳王(🆗)的(de )庄严(🐽)才敢与(👸)他抗(kà(🥉)ng )衡，为替(🥇)受欺压的(de )民众出(chū )头，庄严出手打(⬅)败(bài )钱(🏼)通的手(🍙)下，但(dà(✌)n )却(què )遭到钱通手下(😋)高(gāo )手(🎩)洪鹰(yī(📡)ng )的暗算，临终前嘱(zhǔ )咐女儿（张玲(🕘)）和(hé(♍) )徒儿鲁(🥛)旦（姜(🔋)大(dà )卫）练(liàn )好(hǎo )他和妻子自创(🌶)的(de )歇后(🤩)拳，可惜(🕴)却还(há(🐔)i )欠最后(📕)(hòu )半招。
影(yǐ(🔫)ng )片刻画(🎊)(huà )了(le )一(⬇)个美丽善良、知音律、晓歌舞、(👤)喜爱荣(🌄)(róng )华富(🌕)贵，不问(🆓)朝政(zhè(😿)ng )大事，三千宠爱(ài )集一身而又导致(🌊)辗(niǎn )转(🈳)蛾眉(mé(📐)i )马前死(🍏)，君王有泪(lèi )救不得(🏁)的宫廷(🏅)贵(guì )妇(🏋)(fù )形象。
Chad Gates has just gotten out of the Army, and is happy to be back in Hawaii with his surf-board, his beach buddies, and his girlfriend. His father wants him to go to work at the Great Southern Hawaiian Fruit Company, but Chad is reluctant. So Chad goes to work as a tour guide at his girlfriend's agency. Written by Pat McCurry {ccgrad97@aol.com}