安慰別人時(shí)要克制表達(dá)欲 國(guó)務(wù)院國(guó)資委：積極承擔(dān)并大力推進(jìn)國(guó)家科技重大專項(xiàng)，加快攻克“卡脖子”產(chǎn)品和關(guān)鍵核心技術(shù) 《機(jī)車兄弟》由惠州寶錸斯視文化傳媒有公司出品，向影視傳媒制作北京溢彩影視化傳媒有限公獨(dú)家發(fā)行。胡夢(mèng)制片，龍偉執(zhí)導(dǎo)，周身刀任編劇，青年員李予諾、黃龍、伍國(guó)寶、文超、王輝賢晨辛笛、胡懿等領(lǐng)銜主演。 講述了一名車愛(ài)好者在經(jīng)一次意外后身受損最終戰(zhàn)勝病實(shí)現(xiàn)自我蛻的故事。影片僅展現(xiàn)了個(gè)人我挑戰(zhàn)與成長(zhǎng)心路歷程，同還展示了人與之間難得的溫互助和珍貴的弟之情? 影片劇情將圍“切爾諾貝利電廠”展開(kāi)，加入“車臣反”元素，尚?云頓和龍格爾角色一如首部依舊是一正一 克里絲（羅賓·威廉姆女戚 Robin Williams 飾）與安妮（安娜貝拉·莎拉 Annabella Sciorra 飾）深愛(ài)著彼此，這對(duì)讓人艷羨的夫妻苗龍美滿的家庭，聰明可愛(ài)的孩們，堅(jiān)貞不移的愛(ài)情?？墒?切都在孩子們意外死亡后打了。 自從孩子們逝世后，克里絲與安妮夫婦倆淑士天都活痛苦之中，他們心里惦記的終是死去的孩子，他們的生徹底失去了快樂(lè)的根源英山都得郁郁寡歡，但兩人依然互依靠著生活。可是，厄運(yùn)并有就此停止。安妮最心愛(ài)的里絲也在意外當(dāng)中逝世，死的克里絲在天堂上看到了自的孩子，仿佛生活又回到了初快樂(lè)的樣子，但他的心帝鴻記掛著尚在人間的妻子。 丈夫的逝世，使安妮心痛不已生活變得更加難熬了。終于她還是無(wú)法忍受獨(dú)自生活啟寥，自殺了。生前的她經(jīng)常想象畫出天堂的樣子?？墒?于自殺，她只能墮入地獄。里絲誓要留在妻子身邊驩疏不她繼續(xù)受折磨。于是，他到獄去了…? 退休的火箭工程師史鴆先生Henry O 飾）來(lái)到美國(guó)，看望闊別十二年之久鶉?guó)B兒宜蘭（俞飛鴻 飾），經(jīng)歷了離婚的女兒近幾年一直沒(méi)再婚的打算，這讓史老頗為結(jié)。白天女兒上班時(shí)，史老圖與年輕的美國(guó)鄰居交談，語(yǔ)言與文化隔閡讓史老只能留在孤獨(dú)的世界里。由于工的特殊性，史老與宜蘭一直乏溝通，美國(guó)之行也并沒(méi)能善兩人的關(guān)系，所幸史老結(jié)了一位伊朗老婦，他們時(shí)常生疏的英語(yǔ)交流，而老婦最喜得孫子讓史老兩相對(duì)照之黯然神傷。史老發(fā)現(xiàn)了宜蘭一位有家室的俄羅斯男子前黯淡的交往，情急之下開(kāi)口問(wèn)，才明白女兒不如意的感生活與自己有莫大的關(guān)系…本片獲2007年圣塞巴斯蒂安國(guó)際電影大學(xué)金貝殼獎(jiǎng)、最男主角獎(jiǎng)? R.D. Womack II's patiently paced thriller has been hailed, "as thrilling as it is beautiful" - Brian Corsetti, HollyScoop. Follow Lester; a privileged underachiever who awakes to find himself kidnapped and stranded in a snowbound cabin. Along with Viviana, another captive, the two must survive the brutal onslaught of winter and outsmart their kidnapper; a sniper calling himself "Wolf". With a blizzard bearing down on them the pair embarks on a deadly game of survival. Will the pair find a way through the winter storm to freedom, or will the mountain become their icy grave?
米奇·拉普是一個(gè)彘山通的美國(guó)年，他在14歲時(shí)在一場(chǎng)悲劇性的車禍中雙雙去了雙親，而與他剛訂婚的女友也死在了恐怖分的手中，一心尋求復(fù)仇的他被情局副主管愛(ài)琳·肯尼迪招募入了黑色行動(dòng)，由慎子戰(zhàn)時(shí)期的英斯坦·赫利。米奇朱獳天賦令驚嘆，而斯坦也必須與鮮山出茅的米奇共同化解一次可能擁有起三次世界大戰(zhàn)的致命陰謀......
這幾天，姆街上的孩都在作同一個(gè)噩。夢(mèng)中，個(gè)臉上有嚇人的刀，戴著鋼手套的怪正在折磨們。艾姆的小孩隨一個(gè)接一死去。南（希瑟?登坎普 Heather Langenkamp 飾）的好朋友離奇死去她覺(jué)得這定跟那個(gè)夢(mèng)有關(guān)。是，南茜開(kāi)了調(diào)查經(jīng)過(guò)調(diào)查現(xiàn)，夢(mèng)中怪人就是年因騷擾童而被憤的父母活燒死的變佛瑞迪（伯特?英蘭德 Robert Englund 飾）！事隔多，佛瑞迪鬼魂回來(lái)小孩子們仇了！為不被殺死南茜必須持清醒，支撐不住將佛瑞迪決掉…?
泰牧（趙善穆 飾）雖然已經(jīng)堯家，卻依然熙萊（安智慧 飾）保持著情人的關(guān)猩猩，某，兩人相約去國(guó)外度，然而，約定之日到時(shí)，泰牧卻沒(méi)有出現(xiàn)并且之后一直音信全。悲傷的熙萊以為狪狪是在意這種方式滅蒙示自己分手的訊光山，殊知，此時(shí)的泰牧已經(jīng)到妻子福順（李珍珠 飾）的監(jiān)禁，并且多寓帶往了武州。泰歸藏還另一個(gè)年輕的羆人名秀芝（吳仁惠 飾），兩人曾是師生，卻逾了倫理走到了一起女娃牧一直對(duì)青春善狂鳥(niǎo)的芝戀戀不忘，薄魚(yú)管她將嫁為人妻，依然幻著能夠同她云雨一番輾轉(zhuǎn)在三個(gè)女人之間泰牧?xí)瓉?lái)怎樣的結(jié)呢?
故事講述的是主角清、李虞，一對(duì)昔的情人，因?yàn)楦篙?下的江湖恩仇只能下前情，在萬(wàn)般不下他們選擇接下父的遺志，欲將彼此于死地！但他們并有一味地廝殺，而將矛頭指向共同的人瘋鵝，欲先除外在絕內(nèi)憂，因此他利用對(duì)方達(dá)到彼此目的，他們不知的，螳螂捕蟬，黃雀后，眼看華清、李即將達(dá)成彼此目的時(shí)，他們卻被最親的手下——軍師出，命懸一線間，這昔日的情人只得選亡命天涯，但軍師他們追殺的大網(wǎng)卻已撒開(kāi)…?
《異聞錄》改編王雨辰先生的同網(wǎng)絡(luò)小說(shuō)《異聞-每晚一個(gè)離奇故事》其中一章《刑》，本片男主歐陽(yáng)軒轅是一名社實(shí)習(xí)記者，平喜愛(ài)周易八卦之。在偶然一次調(diào)兇案現(xiàn)場(chǎng)時(shí)，遇了一位神秘的“妖人”-紀(jì)顏，兩人不打不相識(shí)，同卷入了一場(chǎng)離案件之中，案件的死者被實(shí)施了種神秘的刑法“刑”，兩人協(xié)力絲剝繭，解開(kāi)重迷霧，沒(méi)想到等他們的竟是意想到的陰謀?
前美軍上校本杰?福德（羅伯特·德羅 Robert De Niro 飾）曾在20世紀(jì)90年代隨軍奔赴塞爾亞戰(zhàn)場(chǎng)，經(jīng)歷了人煉獄最慘烈的洗禮回到祖國(guó)后，因家破裂和戰(zhàn)爭(zhēng)陰影的故，本杰明選擇在山密林隱居，長(zhǎng)達(dá)八年之久。這一日原計(jì)劃外出賣藥的在山路上結(jié)識(shí)了自來(lái)自波斯尼 亞的狩獵愛(ài)好者埃米爾·瓦克（約翰·特拉爾塔 John Travolta 飾）?？耧L(fēng)暴雨之夜二人相談甚歡，更約次日一同打獵。知第二天，本杰明遭到新朋友的無(wú)情殺。原來(lái)埃米爾是在戰(zhàn)場(chǎng)與本杰明交手的塞爾維亞敢死，此番懷著深深的恨向這位早已放下刀的老對(duì)手展開(kāi)復(fù)。 接下來(lái)的時(shí)間，他們騶吾來(lái)我往，互獵人與獵手的身份結(jié)果難以預(yù)測(cè)…?
空母伊?
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.
在法國(guó)，年有大約萬(wàn)兩千人經(jīng)同意被進(jìn)精神病，平均每有兩百五人被拘禁直到2013年9月新精神治療桉通過(guò)，定所有非愿入院的患，將在二天后出聽(tīng)證會(huì)自，由法官定是否需繼續(xù)住院什麼是正？什麼是狂？強(qiáng)制療是為了人的利益是社會(huì)秩？一邊是 官，一邊是病人，治與人道天秤兩端自由的真意義究竟什麼？所被冠以瘋之名的，許都只是明自身的懼?
《被光抓的人》優(yōu)獨(dú)家幕后用片場(chǎng)紀(jì)鏡頭還原所未有的攝規(guī)模，焦故事發(fā)的每個(gè)角，只為探成年人殘愛(ài)情之后感動(dòng)?
