622
4.0

仿生谜局

导演:
刘博尊
主演:
张瑞瑶,李元杰
别名:
未知
4.0
622人评分
未知
语言
未知
上映时间
未知
片长
简介:
近未来,碌碌无为的私家侦探詹明瑞接到了胡珊的委托,寻找失踪的丈夫,科技大亨,严柯。而此时,民众正在抵制严柯公司推出的仿生人产品,因为仿生人不仅外表和人类无异,而且会替代人类劳动力。  詹明瑞几经周折地找到了失踪的严柯,他被绑架,巨大的精神创伤导致失忆。秉持着好人做到底的原则,詹明瑞决定帮助严柯进行心理治疗,并希望查出绑架犯的线索,来为自己的侦探生涯增光添彩。但随着调查,詹明瑞却发现这个严柯身上充满了疑点,极有可能是仿生人。詹明瑞警告胡珊远离这个“严柯”,但反而遭到胡珊的怒骂。这个严柯的身份究竟是不是仿生人,而胡珊心里又在计划着什么?
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简介:置身于国际化大都市的北京,吕波绝对属于养眼美女的那一种。高挑欣长的身段,瓜子脸蛋上秀眉弯弯、明眸圆圆,浑身上下透着明艳娇媚、青春无敌的气质。或许正是因为人长得漂亮,吕波和顺应如今时代发展趋势的青春美女一样,选择了做人情人的角色。但吕波又不是凭借长相混饭吃的那种,在她的内心深处,人到中年、事业有成却家有妻儿的周明占据了她整个的情感世界。  但尽管如此,这种东躲西藏的日子过起来毕竟如同做贼,让吕波难以接受。为了找一个相对安全的二人世界,周明带着吕波来到一处闲置多年的房子。不巧的是,两个人前脚刚进门,司机小刘就打来电话:妻子来了,而且已经到了楼下。周明慌不择路,倒是吕波正想会会这个绑住自己情人的女人。无奈在周明的苦苦哀求下,吕波只好委身从窗户缘绳而逃。谁曾想,刚出窗户就不慎跌入一独身男子的家中。  独身男子名叫史新羽,在一家广告公司做平面设计,住在这里原本是替出国的朋友看看家。面对眼前这突如其来、从天而降的青春美少女,史新羽还以为是“天上掉下一个林妹妹”。就当史新羽为眼前的一幕懵懂不知所措时,从有惊无险中镇定下来的吕波已经在宛尔一笑中,嫣然而去。  周明是个高干子弟。如今正步入颠峰的事业离不开妻子的支持不说,一年中还有半年的时间不在国内。没有周明相伴的日子,吕波只有在自学英语、练习击剑、漫逛商场、狂泡酒吧中打发无聊的时间。在得知周明为顾及家庭的颜面和周遭朋友的舆论而拒绝答应和妻子离婚的最后通牒后,吕波决定用自己的方式报复周明。为此,吕波在一个雨夜敲开了史新羽的门,并用自尽寻死相逼,让豪无思想准备的史新羽答应和她结婚。  吕波做梦都想有一个像样的婚礼,如今为报复周明,吕波带着肚子里周明的孩子,在稀里糊涂中做了史新羽的新娘。和史新羽结婚不到一年的时间,吕波就顺利生下一个白胖小子。为兑现当初答应吕波的承诺,史新羽给孩子取名叫史见证。不仅如此,史新羽还以和吕波分睡客厅沙发和卧室大床的不逾坚守,默默地实现着对吕波的好。  然而,这种平静的生活很快就在史见证长到三岁的时候,随着周明的再次出现而被打破。周明带着已经和前妻离婚的好消息出现在吕波的面前。周明的出现,重新勾起了吕波对往事的回忆,也在史新羽的心上无情的划开了一道伤口。在周明重归于好的哀求面前,吕波带着史见证出现在周明为自己举办的盛大生日聚会上。  面对周明赠送的宝马名车和私人别墅里觥箸交错的酒绿灯红,吕波想起了远在青岛出差的史新羽,想起了在最绝望的时候给予自己活下去勇气的丈夫。吕波毅然离开了周明,在人群攒动的街头找到真正爱她的史新羽。为实现吕波的愿望,史新羽在朋友同事的操持下,为吕波举办了一个简单而隆重的婚礼。带着三岁儿子史见证的婚礼上,吕波身披圣洁的婚纱,高歌一曲《不能没有你》。祝福声中,“……日子过得怎么样,人生是否要珍惜”的歌唱在每一个人心中荡漾,在都市的上空传得很远、很远。
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1.0
更新时间:04月18日
主演:Artúr Somlay,Miklós Gábor,Zsuzsa Bánki
简介: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 enthusiastically 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 sentimentality, 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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808
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简介:影片鲜明而真实地表现了1942年夏季苏军在顿河草原上的保卫战:一支团队在撤退途中,奉命占领一个小村后面的十字路口的高地。主人公在战前从事着不同的职业,战争使他们聚集到了一起。经过艰苦卓绝的战斗,这支团队完成了占领高地的任务,保住了团队的旗帜,但付出了惨痛的代价,伤亡十分严重。
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