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  • 2023 4.0

    四格勇者

    【bilibili出品】《四格勇者》预告发布!王国中,一场新的变故悄然降临…出品:bilibili制作:梵特姆

  • 1998 7.0

    赌侠1999(普通话版)

    阿king(刘德华 饰)当年因出千被捕,事实上他是被人陷害的。出狱时他为他接风的是崇拜他已久的化骨龙(张家辉 饰),化骨龙是个终日无所事事的人,希望能跟着king有所作为。出狱后的king到处寻找已怀孕的妻子(张慧仪 饰),与当日的得力助手(张锦程 饰),   后来King与化骨龙妹妹晴(朱茵 饰)产生了好感。   King得到Rocky(吴志雄 饰)的帮助上了赌船,碰见了多年前便想交手的马交文(高捷 饰),king想与之一决高低,却遭到马交文的手下省镜(李子雄 饰)陷害,揭开了king的底细更想进一步迫害king,king又能否躲过劫数呢?

  • 2008 3.0

    我为钱狂

    布里奇特(黛安·基顿 Diane Keaton 饰)是一个普通的家庭主妇,居住在一间位于郊区的大房子里,丈夫那份薪水不菲的工作足以让她的生活衣食无忧。然而就在一瞬间,美好的生活化为了泡影,丈夫丢了工作,他们不仅即将失去舒适的住宅,布里奇特还不得不为了养家糊口而踏出家门寻找工作。来到人才市场,布里奇特才发现,在这个年头想要赚钱是这样的困难,在繁多的工作岗位之中,自己的古英语学位形同虚设。无奈之下,她成为了美国联邦储备银行的清洁工。   在工作中,布里奇特结识了单身妈妈妮娜(奎恩·拉提法 Queen Latifah 饰)和充满个性的杰姬(凯蒂·霍尔姆斯 Katie Holmes 饰)。每天面对着成捆的钞票,三个被贫穷逼迫的走投无路的女人打起了歪主意。

  • 2021 2.0

    地狱

    令人难以置信的地狱场景,在首尔市中心的人群面前上演。神秘生物判人有罪,应下地狱受罚。而异界生物恰好在指定的时间出现,将被定罪的人处以极刑 — 活活烧死。在这些令人费解的超自然事件所造成的巨大混乱中,新兴宗教组织“新真理教”的领导人郑晋守发出了威严的声音。他声称,只有罪人才会被判刑,而这些事件代表了规范人类行为的神圣意志。“箭镞”— 他盲目的追随者们亲自动手,负责对违背神意者施以酷刑。世界变成了人间地狱。   律师闵惠珍挑战郑议长的权威,声称地狱场景只是超自然现象。她与少数试图保护“有罪者“的人联手,让世界回到人类的领域,而不是纳入神的麾下。他们奋起反抗“新真理教”煽动的混乱。

  • 2013 2.0

    那些年我们疯狂的青春

    邦尼(兰比·卡普尔RanbirKapoor饰)同好友艾维(阿迪亚·罗伊·卡普尔AdityaRoyKapoor饰)和艾迪提(卡尔吉·柯伊切林KalkiKoechlin饰)一同踏上了前往马纳里的徒步旅程,一次偶然中,他们遇见了名为娜妮雅(迪皮卡·帕度柯妮DeepikaPadukone饰)的美丽女子,巧合的是,娜妮雅和邦尼曾经是旧相识。就这样,一心想要逃脱一成不变的生活的娜妮雅也加入了邦尼一行人的旅程,在此过程中,邦尼的开朗和乐观渐渐的吸引了娜妮雅。遗憾的是,此时的邦尼并不想被感情所束缚,得知这一事实后,娜妮雅选择了退出。时间一晃八年过去,邦尼和娜妮雅在一场婚礼上重逢了,知道这时,邦尼才发现自己其实一直都深深的爱着娜妮雅,这么多年的兜兜转转后,这对有情人能否终成眷属呢?

  • 1976 3.0

    男子拥有绝世武器,百丈以内可轻松取人首级,扔出后竟能自动返回#飞龙斩

      奸相秦权(谷峰 饰)身患恶疽,危在旦夕,指使首席护卫司马骏(罗烈饰)往药师处取长生藤治疾。药师知是秦权要用,坚决不予,司马骏无奈将药师杀害,掠走其藏有长生藤之宝盒。司马骏师弟铁二郎(刘永饰)出于义愤,伺机将长生藤盗去,司马骏愤然将铁母杀害,仍无法搜到长生藤。二郎见母遇害,悲恸欲绝,联合药师之女谈丽(燕南希饰),与司马骏展开殊死之战。

  • 1919 2.0

    盲目的丈夫们

    Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version  The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski)  From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

  • 2014 2.0

    游戏制造者

    Young Ivan Drago's newfound love of board games catapults him into the fantastical and competitive world of game invention, and pits him against the inventor Morodian, who has long desired to destroy the city of Zyl, founded by Ivan's grandfather. To save his family and defeat Morodian, Ivan must come to know what it is to be a true Games Maker.

  • 2006 2.0

    情意拳拳

    港片《情意拳拳》以内地银幕上不多见的强烈时代气息、繁华都市夜场、青春时尚等特质,即将掀起新一轮都市时尚潮流,并将引发另一种现实关注。影片以“枚”(广东话“猜枚”即“猜拳”)为主题,讲述Vivian(应采儿饰)怎样被“枚”所伤,最后又怎样因“枚”而再次抬起头来。所有“情意”由此而生,在“拳”中有“情”。片名由此而来。

  • 2012 8.0

    金色光芒

    一个女的和七个男的故事。。。桐迪(pinky)是位漂亮的乡下女孩子,17岁,雄心勃勃,梦想着当明星,她跟在市场开店卖饭以及卖咖啡的爸爸(?????? ?????????),妈妈(???? ?????)一起生活,桐迪经常被妈妈骂,指使她从早到晚的干活,因为她不是他们的亲生孩子,只是妈妈收养来干活的。桐迪的美貌非常吸引男孩子,但是桐迪很爱惜自己不允许任何人碰,除了pitsut(?????-????????? ??????????/????? ????????????),因为除了相貌好,学历高之外,他还是公务员的孩子,桐迪梦想着跟他能有舒适的生活,二人偷吃禁果,PITSUT给桐迪取了个新的名字叫:tongpragai”由于迷恋桐迪的魅力,pitsut荒废学业,瞒着桐迪的爸妈来她家留宿,但桐迪的爸爸因肺结核去世没几天,他们就被妈妈抓住并被赶出了家门,桐迪问妈...

  • 2016 2.0

    华严小镇之二藏踪

    卢征回到这家诊所所在地,继续执行未完成的使命,原来这家诊所是日军的一个废弃实验基地,一箱遗留下的“金条”成了困扰卢征的枷锁,寻找箱子、藏箱子、用箱子交换女护士的妹妹,一干人众为争夺箱子用尽了心机,卢征主动被人催眠,回顾自己在诊所经历的一切,寻找真相;卢征被自己身边最亲近的人下毒,命悬一线;幸得华严小镇女“管家”及时出手挽回危局,卢征最终完成了一个执行者的使命,送出了自己用生命换来的情报。

  • 2023 7.0

    黑暗中的吟唱[电影解说]

    Ashionye, a reluctant Nigerian Shaman living in the south of England, who has been hired by an old family friend, Isioma Williams, to investigate and expel a malevolent spirit that has been tormenting her family after the death of her estranged husband, Magnus. To the chagrin of her demon hunting partner, Marv Taylor, Ashionye reluctantly accepts the job as a way to repay an old debt she owes Isioma. As Ashionye digs deeper into Isioma’s family situation, she finds herself standing against a familiar force that brought about her trauma since childhood.

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