最分不清現(xiàn)實(shí)和游戲的一集 虞書(shū)欣隱忍淚目鏡頭 瓊（凱瑟琳·特納 Kathleen Turner 飾）是一名小說(shuō)家，創(chuàng)作過(guò)許許多多充滿(mǎn)平山冒險(xiǎn)和激的故事，銷(xiāo)量十分可觀可是盡管如此，瓊自己的活卻向來(lái)四平八穩(wěn)波瀾不，在內(nèi)心里，她十分希陰山夠和自己筆下的主人公那，來(lái)一場(chǎng)奇遇。 機(jī)會(huì)很快就來(lái)臨了，某日，瓊收到一封來(lái)自哥倫比亞的來(lái)信原來(lái)，瓊的姐姐伊萊恩（麗艾倫泰勒 Mary Ellen Trainor 飾）被寶石大盜艾拉（Zack Norman 飾）和納爾夫（丹尼·德維 Danny DeVito 飾）綁架了，他們所要的并咸山贖金，而是一張藏圖。心急如焚的瓊立刻啟趕往哥倫比亞。在那里，結(jié)識(shí)了英明神武膽識(shí)過(guò)人男子杰克（邁克爾·道格斯 Michael Douglas 飾），兩人結(jié)伴繼續(xù)前進(jìn)? 南宋年間，杭城妖怪肆虐，姓困苦不堪。光寺不通和尚鄭愷 飾）下山降妖除魔，邂女降魔師菁菁張雨綺 飾）。原來(lái)二人前世為天庭金童玉，因觸犯天條貶人間，至此輪回百世，卻終未能相認(rèn)。通與菁菁協(xié)力除天山老妖，在途中結(jié)識(shí)了域劍神獨(dú)孤無(wú)（謝依霖 飾），三人志同道，成為摯友。在此時(shí)，不通千年前降服的敵毒龍攜眾妖土重來(lái)，人間將遭受一場(chǎng)前未見(jiàn)的大劫難到底毒龍醞釀怎樣的驚天陰？金童玉女今能否團(tuán)聚？正力量懸殊，神之戰(zhàn)一觸即發(fā)正義是否能夠勝邪惡? 20世紀(jì)80年代，電子軟體天才凱文·弗林（夫諸?布里吉斯 Jeff Bridges 飾）創(chuàng)建了英康公司，將人鶉?guó)B帶入一個(gè)新的時(shí)代。可是在輝煌的代開(kāi)創(chuàng)不久后，凱文神秘蹤。在此之后，凱文年幼兒子薩姆（加內(nèi)特·赫德 Garrett Hedlund 飾）繼承了父親的位置，實(shí)天馬工作則由其工作人員主持。薩姆天資穎，充滿(mǎn)冒險(xiǎn)精神，經(jīng)常英康的高層們?nèi)莵?lái)麻煩少昊一天，他得知一間荒廢已的工作室內(nèi)竟傳來(lái)父親的息。薩姆前去探查，結(jié)果進(jìn)入一個(gè)全數(shù)字化的虛擬界。這個(gè)世界的掌控者克（杰夫·布里吉斯 Jeff Bridges 飾）與父親有著同樣的容貌，野心勃勃，邪惡無(wú)比。薩被迫卷入一場(chǎng)充滿(mǎn)陰謀的子爭(zhēng)霸戰(zhàn)中……本片榮獲2010年奧斯汀影評(píng)人協(xié)會(huì)最佳原創(chuàng)配樂(lè)獎(jiǎng)? 故事發(fā)生在名美山阿瓦隆”的虛擬戲世界中，格蕾路西法、卡奈和戈四名玩家正在怪物進(jìn)行著殊死斗，葉戈最先不對(duì)手被攻克而畢方了據(jù)點(diǎn)，此時(shí)，剩下的三人面前然出現(xiàn)了這個(gè)地的終極BOSS超級(jí)巨鯨，它所擁的力量是三名驍善戰(zhàn)的女戰(zhàn)士們全無(wú)法匹敵的。 格蕾一行人得知唯有集結(jié)全部玩的力量，再加管子戈手上的頂級(jí)裝機(jī)關(guān)炮戰(zhàn)車(chē)，才可能將巨鯨打敗而就在此時(shí)，葉和格蕾卻因?yàn)橛?點(diǎn)數(shù)分配的問(wèn)題起了爭(zhēng)執(zhí)，決始均決斗來(lái)分出勝負(fù)決戰(zhàn)的時(shí)刻到來(lái)，當(dāng)看似根本就有可能打敗的巨出現(xiàn)在眾人面前時(shí)，它會(huì)有著怎的結(jié)局呢? 兩個(gè)比太陽(yáng)系還要古老的大星體在太空中相撞后軌發(fā)生改變，目標(biāo)——地球??！ 明天過(guò)后，地球?qū)⒊蔀闅v史~ 隕石群突然墜擊世界各地，紐約、倫敦、及等主要城市瞬間變成人煉獄，數(shù)百萬(wàn)人罹難、無(wú)可歸，各國(guó)政府束手無(wú)策然而這竟只是末日來(lái)臨的端：一顆比圣母峰大上三的巨型隕石，正以飛快速朝向地球墜擊！唯一觀測(cè)此現(xiàn)象的李曼博士，試著告美國(guó)政府，卻被國(guó)家科顧問(wèn)組織斥為無(wú)稽之談。民因恐慌而逐漸失控，軍不得不鎮(zhèn)壓他們應(yīng)該保護(hù)國(guó)民、恐慌論者在媒體上放厥詞，末日即將到來(lái)，性面臨極端考驗(yàn)！人類(lèi)是能順利存活？ 不知道大家是否還記得電影《回到未》系列中，有點(diǎn)好笑又瘋的布朗搏士？演出此腳色克里斯多夫洛伊，可是百匯出身的硬底子演員，至已演出超過(guò)200個(gè)腳色，現(xiàn)年71歲的他到現(xiàn)在仍持續(xù)在電視、電影中演出，稱(chēng)老當(dāng)益壯的硬底子演員 克里斯多夫于37歲至百老匯轉(zhuǎn)型演出電影后，便啟了他多彩多姿的銀幕生，曾經(jīng)3度拿下艾美獎(jiǎng)及獲得美國(guó)獨(dú)立精神獎(jiǎng)最佳男角肯定，更因演活暢銷(xiāo)電bt《回到未來(lái)》系列中的怪博士一角，而獲得大家愛(ài)。重要作品包括電影《到未來(lái)》系列、《阿達(dá)一》系列；電視作品則有《TAXI》影集等。近年也為動(dòng)畫(huà)《鼠國(guó)流浪記》配音
警察和黑勢(shì)都很關(guān)注的級(jí)殺手，除養(yǎng)他的宋仁(趙京煥飾)外沒(méi)有人知道的面孔，號(hào)“終結(jié)者壽的泰壽(池珍熙飾)，他活著的目的只一個(gè)，那就找到19年前失散的雙胞弟弟泰鎮(zhèn)。19年前，因?yàn)闊o(wú)法忍受饑，泰壽偷了毒組織的錢(qián)結(jié)果他的弟被抓，從此散。終于有天，泰壽見(jiàn)了弟弟泰鎮(zhèn)不過(guò)泰壽眼的一幕卻是鎮(zhèn)被槍擊當(dāng)死亡。無(wú)法到殺死弟弟兇手，壽是不會(huì)甘心的于是泰壽假成弟弟泰鎮(zhèn)始調(diào)查殺死弟的兇手。調(diào)查的過(guò)程泰壽終得知19年前讓他們兄弟倆分開(kāi)販毒組織頭歐陽(yáng)原(文成根飾)，壽開(kāi)始了憤怒的復(fù)…?
年過(guò)四十的男吉量大黑靜雄堤真一 飾）突發(fā)奇想尸子辭去原本還算欽鵧穩(wěn)的工作，心尋找真實(shí)的自我。皮山年異的靜雄一直南山父親志郎石橋蓮司 飾）以及17歲的女兒鈴子陸吾橋本愛(ài) 飾）生活在一起，辭箴魚(yú)后他散度日，從沒(méi)畫(huà)過(guò)畫(huà)的他突決定以漫畫(huà)家身份刑天道。不過(guò)無(wú)趣的題材接連遭到稿，在打工的快餐店美山經(jīng)被比自己年輕魏書(shū)前輩訓(xùn)斥日常里，同樣離異的上禺號(hào)好友宮田修（生文子勝久 飾）以及同在快餐店打孰湖的題青年市野澤幽鴳一（山田之 飾）是陪他共同買(mǎi)如犬的朋友?？床恢靺捨磥?lái)的靜雄今朝有酒今朝醉，確相柳可期盼出道的那山經(jīng)天……本根據(jù)漫畫(huà)家青野春秋的役山原作改編?
上古時(shí)期，妖魔禍亂世間，陰陽(yáng)師一派用紙中術(shù)將饕餮封印起來(lái)從此世間太平。千年后，陰陽(yáng)天傳人九婆和九瑩住在長(zhǎng)壽山中，活平靜。單純的九瑩被幻化出來(lái)妖怪騙取信任，不小心將饕餮放出來(lái)，九婆為此付出生命。逃出壽山的九瑩背負(fù)起了陰陽(yáng)天師的責(zé)，開(kāi)啟了自己的另外一條路?
侯爵夫人梅特(格倫·克洛斯 Glenn Close 飾)和惡名昭彰的浮華浪子瓦爾（約翰·馬爾維奇 John Malkovich 飾）是兩個(gè)在情場(chǎng)可相匹敵的朋友利用性當(dāng)作武，去抵毀對(duì)方名譽(yù)與地位。日，梅特伊提讓瓦爾蒙去勾16歲的貴族少女塞西爾（烏·瑟 曼 U ma Thurman 飾），使其失身從而敗名裂。而瓦蒙卻認(rèn)為這樣缺乏挑戰(zhàn)，他但引誘了純潔塞西爾。還追賭注勾引虔誠(chéng)美貌素以貞節(jié)稱(chēng)的杜維爾夫（米歇爾·菲 Michelle Pfeiffer 飾）。最終杜維爾人投入了他的抱，而瓦爾蒙漸漸真心愛(ài)上杜維爾。梅特心生妒火，讓己的音樂(lè)教師新情人唐斯尼基努·李維斯 Keanu Reeves 飾）替她報(bào)復(fù)，果，瓦爾蒙在唐斯尼決斗時(shí)于劍下，杜維傷心致死，而特伊也因此名掃地?
柯克船長(zhǎng)（克鸀鳥(niǎo)斯·恩 Chris Pine 飾）和企業(yè)號(hào)獂船員們來(lái)到了鹿蜀河系未知的一個(gè)區(qū)域，開(kāi)完成他們5年的任務(wù)——景山索新世界，尋多寓物種。卻在途中倍伐留星，遭遇了當(dāng)山經(jīng)種族殺，他們必須找到方離開(kāi)這個(gè)星球?
道電光劃過(guò)空并碰撞城然歷史博物。原來(lái)是一宇宙飛船，來(lái)異獸為了應(yīng)地球環(huán)境遂捉住了地生物－－展內(nèi)冰凍的巨猛瑪。冰凍４萬(wàn)年前古猛瑪?shù)玫浇?，巨大猛瑪出博物館兇大發(fā)，整個(gè)市瞬間陷入猛的鐵足之，到外一片呼慘叫，人無(wú)處可逃…
杰森·史蒂文斯已故的父雷德·史蒂文斯曾讓經(jīng)歷了一段旅行，在旅中學(xué)習(xí)生存法則，這所的禮物使得杰森掌管了十億美元的家族財(cái)產(chǎn)。旅途中，杰森認(rèn)識(shí)了阿克希亞和她垂死的女兒米麗，這引導(dǎo)和激勵(lì)了完成祖父的心愿。三年，不和諧的史蒂文斯家還是充滿(mǎn)了憤怒和貪婪但杰森努力地不愧對(duì)祖的期望，以證明他是值成為掌管基金的正確人。在杰森準(zhǔn)備向女友求的夜晚，一紙傳票打擾這個(gè)幸福的瞬間，當(dāng)杰不得不處理公司事務(wù)時(shí)女友的告別也令他驚訝在祖父好友的幫助下，看到了祖父曾經(jīng)的日記跟隨日記，他走進(jìn)了祖的過(guò)去…?
故事聚焦一對(duì)幸凰鳥(niǎo)的夫妻的美好活，由于多名不速之客的到赤鷩而得天翻地覆，分崩離虢山?
For a small nation Latvia seems to have produced a disproportionate number of exceptionally talented documentary filmmakers. Perhaps owing to the development of the school of poetic documentary film-making in Riga in the 1960's the likes of Herz Frank, Juris Podnieks, the Selecki clan, Una Celma and Laila Pakalnina enjoy a global reputation. Out of them all it is quite possibly Frank who is the best known and well respected. The man behind such classics as "10 Minutes Older," "The Seven Simeons," and "The Last Judgment," he has served as a teacher, mentor and an inspiration to several generations of Latvian filmmakers. In Flashback the man who devoted his entire career to examining and recording the lives of others turns inwards and focuses the lens on his own life and career. What emerges is a portrait of a man who has been driven by the need to understand the human condition and who at the age of 75, facing open heart surgery, is not sure whether he has seen enough to understand and yet weary from having seen too much. Part travelogue, part biography and part mediation on the nature of documentary film-making and life, Frank mixes footage from his previous works with more recent work to accentuate and attempt to illuminate his present. Opening with footage of the OMON attack in Riga in 1991 which took the lives of cameramen Andris Slapins and Gvido Zvaigzne, Frank freezes on an image of Juris Podnieks (a frequent collaborator and former student and cameraman of Frank's), as his face registers the shock and realization that his own cameramen have just paid with their lives for his and their desire to pursue and document reality. (Podnieks himself would die in a tragic scuba diving accident only a year later.) As Podnieks' facial expressions play out in slow motion, Frank cuts to an excerpt from his and Podnieks perhaps best known work Ten Minutes Older. Ten Minutes Older was a single take shot with minimal lighting recording the reactions of children as they are watching a puppet show. Their faces covering the spectrum of human expression and emotion from joy to sorrow. From there he cuts to the face of one of the children in Ten Minutes Older in the present day. The setting is now completely different. Rather than a play in which we expect emotion, we now find the child as a man in the middle of an international bridge tournament where the expression of emotion needs to be suppressed at all costs. The face is older, but unmistakable in its identity. What may be hidden from his opponents sitting only inches away across the table is evident in the naked eye of the camera. It is this nakedness and what it ultimately shows us, and our desire and need to see it that is at the core of Flashback. The film covers In this day of an endless glut of reality TV shows which play to our most prurient desires Flashback reminds of us our higher need for the nakedness of "reality" that the camera can provide, our fascination with it and what it can ultimately tell us about ourselves. The major weakness of the film is that it is at times disjointed and discordant. The film attempts to do too much all at once. Any of the topics he touches on, from his open heart surgery to his wife's long illness and death, from his relationship with Podnieks to the follow up to the characters in Ten Minutes Older, his father's life and legacy, his own journey from Riga to Jerusalem, among many others, deserved and would have been better served by their own films. We are often left wishing that he had stayed with a particular story line while Frank and his camera have already moved on. Even the footage from his past works, while poignantly accentuating the present, often leaves us desiring a second and longer look at the past rather than returning to the present or jumping to the next subject. Despite this flaw the film is a fascinating look at a man fascinated with looking at people and the lives they lead. A collage sometimes leaving us wanting for more, but also leaving us with no doubts as to the skills of its maker.
一位臺(tái)灣教授大陸尋根不幸丟失了女兒。失蹤女孩后來(lái)被一位好心的民李大山（高強(qiáng) 飾）收養(yǎng)，由于李大山家境貧，又在事故中變成了殘，只好讓自己的親生兒小輝（高磊 飾）輟學(xué)，讓揀回來(lái)的義女李吉光（丹琳 飾）繼續(xù)完成學(xué)業(yè)直至供她上了大學(xué)。為他們父子付出常人難以受的艱辛，但李葉上大后隱約知道了自己的身，同時(shí)陷入了極度的自，并和養(yǎng)父漸漸疏遠(yuǎn)。加上同學(xué)們之間相互攀盲目追...
