Zs
搜索"Zs" ，找到 51部影视作品
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约翰·摩尔
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虽饱经枪林弹雨洗礼，但是孤胆英雄约翰·麦克莱恩（布鲁斯·威利斯 Bruce Willis 饰）与儿子杰克（杰·科特尼 Jai Courtney 饰）之间依然如同普通父子一样，有着不可国泰君安大智慧5逾越的深深隔阂。失去联络许多年，好不容易得到儿子消息的约翰，却发现杰克因多项罪名的指控在莫斯科沦为阶下囚，面临死刑威胁。他未作迟疑，启程前往遥远的俄罗斯。开庭当天，一伙身份不明之人连环爆炸袭击法庭，其目标直指同样遭到指控的俄罗斯富翁尤里·科马罗夫（塞巴斯蒂安·科赫 Sebastian Koch 饰）。混乱之中，杰克护送尤圈里圈外 by 楚云暮里逃脱，其囚徒背后的秘密身份正逐渐浮出水面。 异国他乡，孤立无援，麦克莱恩父子只有依靠彼此逃出生天……
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法兰提塞·维拉席
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In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil. The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by Fran索多玛的120天 快播tišek A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968). Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace. As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery. Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed t多功能老婆在线观看hrough the air towards the miller's door. The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more. Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as八度电影 the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village. The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act. The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.
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Radványi Géza
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Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastical偷偷掳ly received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sen新足球小将粤语timentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
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邦尼·科恩,乔恩·申克
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《吹哨人：美国体操队性三圾片2013目录侵丑闻追踪》跟随《印第安纳波利斯星报》记者的脚步，调查全国最著名的奥运机构之一，美国体操协会的性侵指控。两年后，一名奥运会的医生锒铛入狱，美国国会开始追责，数百名事件亲历者纷纷发...
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József Gallai
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雅各布·泰勒今日特马搬到一个与世隔绝的小木屋后，突然消失得无影无踪。根据他留下的录像信息，他的家人、朋友和一名肉身避风港1975年版侦探试图找到围绕着他引发的诡异事件的答案。。。
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尼姆罗德·安陶尔
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A tough guy turned star. He did something others wouldn't dare. Always one step ahead of the cops and always downed a whiskey before robbing a bank. Growing up in a broken home Attila (Bence Szalay) was a troubled teenager, even sp卧底傅程鹏版ent time in a youth prison. Through a rather bizarre turn of events he escaped to Hungary from Transylvania. But his new life turned out to be much harder than the old one. He was the goal-keeper on a hockey team, but still had no money, no girlfriend; but then he found something that he's really good at. He was reckless, fast and meticulous. He started robbing post offices, banks, travel offices. The more he stole, the hungrier he got. Nothing was enough for himself and his new love (Piroska Móga). But his final job didn't go as planned and the determined investigator, (Zoltán Schneider) who's long been on his tail finally caught him and made him face the consequences. But the cop-robber game is far from over. A story of a fascinating life, full of amazing pursuits, action scenes - told through the lense of legendary director of Kontroll and Predators, Nimród Antal.
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Phillip Baribeau
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Sixteen mustangs, four men, one dream: to ride border to border, Mexico to Canada, up向公馆上海 the spine of the American West. The documentary tracks four fresh-out-of-college buddies as they take on wild mustangs to be their trusted mounts, and set out on the adventure of a lifetime. Their wildness of spirit, in both man and horse, is qu最新魔幻电影ickly dwarfed by the wilderness they must navigate: a 3000-mile gauntlet that is equally indescribable and unforgiving.
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Daniel,Boyd
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While waiting for their bus, five passengers have just had horrible ni4399电影网ghtmares and decide to tell them to each other to help killing time. A swimmer, who has lessons in a swimming pool with a dead swimmer, tells the first one. A young boy, who goes camping with two friends and a crazy man as a leader, is the next. Then, a lonely woman, who has an infatuation with the anchor of a late night show, and finds that he is indeed a vampire. A young man, who finds he has the gift of bringing dead people back to life, brings a cold blood criminal back to life. Last, a skeptic professor of anthropology tells to his students about an evil Spanish creature from the Middle Ages called "Ixpe", and a young woman embodies it. When the bus arrives, they have a huge surprise.
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Payman Benz
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这部职场喜剧来自Vanessa Ramos与David Caspe，曾经参与了《百味超市》、《神烦警探》等剧的两人最早是将这个项目推荐给NBC，但此后由Netflix接盘；许多的微微一笑很倾城资源“讽刺”和“巧合”都诞生于这个项目：在出租录像与碟片时期，百视达曾经是家庭影视娱乐领域的佼佼者，同样从事电影租赁生意的Netflix在千禧年被完全碾压，而创始人Marc Randolph与Reed Hastings在当时寻求收购未果后，誓言要在未来将其冲垮；2010年，百视达率先破产，时隔一年后被Dish Network买下并关闭上千家蛋神奇踪全集商店；Netflix却就此起飞，成为流媒体的代表品牌。 “百视达”唯一留下的一生逢灿烂的日子 电视剧家分店在俄勒冈州，因为《惊奇队长》取景而声名大噪。它终究成为喜剧中用来形容过气的梗，此番由Netflix预订的本剧，会将故事对准不断下行、硕果仅存的最后一家百视达商店。制片人取得了店铺制服、品牌的使用权，预计也会捕捉类似《百味超市》的感觉，写尽工作与夕阳产业的甘苦谈。
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Mauro Carvalho
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Diego had to leave his hometown in Brazil to attend冰糖炖雪梨全文百度云 a film school in California for 4 years. He also had to leave everything he had ever loved behind including Matheus, a handsome young man with whom he felt in love and shared passionate moments with. Ten years later, back in Brazil, he decides to啦啦啦高清在线影院 make a film about their relationship. This biopic shows how passion can increase电视剧乞丐王子 people's motivation in life, but also shows how making choices can be cruel for passion.
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Márk Bodzsár
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Comrade Draculich is a romantic vampire tale set in the cold war era. In the early 70's, Fabian the vampire returns home to the People's Republic of Hunga野画集漫画啵乐ry from the imperialist west, and immediately becomes a target of the communist secret police. During surveillance, love unfolds between the vampire and Maria, the young female comrade, who is assigned to spy on the mysterious stranger. She must make a choice between a monster and the regime that exploits her. This satirical love story mixes el坏蛋是怎么练成的3ements of spy and vampire movies. Through its depiction of the paranoid Hungarian communist regime, it reflects on our present, where surveillance is a global concern.
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Péter Fazakas
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During the忘忧草官网在线观看 Cold War, the secret service of Kádár began a more dangerous state security game than ever before.
