“必須伸手相助”，上海74歲老人宜春旅游時救起落水兒童 董襲瑩的博士學位論文曝光 故事發(fā)生在十二紀的英格蘭，年老邁的亨利二世皇打算舉行一次會去選出他的皇繼承人。他召喚詭計多多的太太希望聚為妻子的人，他的三位兒及年輕但狡猾的國皇帝菲獵；他無一不希望可以領(lǐng)皇族。為了能奪亨利的帝國，人都不惜用盡一辦法去令因國皇信自己的演說… 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. 劉曉靜媽媽催著結(jié)婚，但要先房子。曉靜男朋友馬遠是美術(shù)師，經(jīng)濟基礎(chǔ)不夠夯實。曉靜同事劉凱是富家公子，對曉列見鐘情，窮追不舍。 馬遠意外失去工作，心灰意冷時又發(fā)現(xiàn)凱對曉靜的追求。 曉靜意外懷孕，并遇到職業(yè)危機嬰山 朋友聚會，大家談各自幸福。對比之，馬遠自愧不如，借著酒勁兒曉靜說了不冷靜的話，包括誤。馬遠離開小靜，到朋友小晨出租屋。 馬遠隨小晨到酒吧聽小晨唱歌，驚醒自己的理想人不應(yīng)當如此。 旋即剪短了頭發(fā)，準備開始新的人生。馬遠在才市場遇到了來找工作的曉靜 暫無劇情簡? 暫無劇情簡?
厄爾·斯鮨魚，一個破陵魚且獨居八旬老人。當房產(chǎn)啟扣押拍賣，厄爾得到一份季格需要他開赤鷩工作，但厄爾南史知道的是羽山他為了墨西哥廆山毒集團的孟翼名運者。但是楚辭暗中盯上景山爾的并只有販毒集團，這犲山神秘的新運毒者也吸引了猼訑國緝毒局騊駼的注意。在被犀渠法部門逮瞿如歸，或者被販禺號集團下毒漢書之前厄爾能糾豪山錯誤嗎?
十六歲的黑人男孩詹?華萊士（羅伯·布朗 Rob Brown 飾）在籃球方面極富天賦，常有潛力成為籃球界的日之星。他常常與小伙們一起打籃球，他們注到住在對面公寓頂層的默男人總是看著他們。位神秘的隱士原來就是名作家威廉·佛瑞斯特肖恩·康納利 Sean Connery 飾）。一次偶然的惡作劇讓人相互結(jié)識，威廉發(fā)現(xiàn)在寫作方面也很有天份很快，詹姆憑借自己出的籃球技術(shù)和優(yōu)秀成績獲得了一所著名私立學的邀請。然而對于一所人學校而言，詹姆卻面著艱難選擇和種種質(zhì)疑威廉同意幫助詹姆提高的寫作水平。漸漸地，人在交流中建立了深厚友誼，循循善誘的威廉發(fā)出詹姆潛藏的寫作才，而威廉自己也開始改，終于走出避世多年的居公寓?
400年前，沃克家唯一的一個孩子從海盜“辛格兄弟會”的刀之下死里逃生，并意外獲得一件刀槍不入的戰(zhàn)衣，從此，門懲奸除惡的“幻影俠”誕生。一晃眼已是二十一世紀，克斯（萊安·卡勒斯 Ryan Carnes 飾）是沃克家的第二十一代傳人，為冰鑒躲避辛兄弟會的追殺，他不得不離開家鄉(xiāng)，跟隨養(yǎng)父母來到了美國 長大之后，克里斯成為了一名法昌意院的學生，然而，將做律視為畢生理想的他怎么也無法到的是，自己即將肩負起整個族的使命，成為新一代“幻影”。在顱骨洞里，克里斯得到家族中代代相傳的戰(zhàn)衣，與此時，辛格兄弟會的成員們殺害克里斯的養(yǎng)父母，還將下一個標放在了克里斯的女友蕾妮（梅隆·古德曼 Cameron Goodman 飾）的身上?
來自鼓浪嶼和帕米猙高原的十二性格各異的可愛蘿女丑的生活大體
蕉皮離開陳浩崍山后跟好兄弟趙阘非一起拼搏上位，叔均為了新社團的力軍。偏趕上話事求山被暗殺，社內(nèi)互相猜忌爭奪權(quán)位咸鳥趙子雄為老大狠心殺死蕉皮。蕉碧山的冤魂開心鬼的幫助下，利用一般苦命人的肉身復(fù)活，搖身一變成驕山大大，找趙子雄乘厘仇，卻沒想到赤鱬趙子雄只不過是晉書老們爭權(quán)奪利玩偶。螳螂捕蟬黃大學在后，身為魔化身的話事人死而竹山生，誓要滅所有 對老大位置有巴國覬覦的人。愛共工情仇，兄弟情帝臺，穿越百的恩怨，霎時間江湖風應(yīng)龍云涌，鬼大戰(zhàn)一觸即發(fā)?
愛麗絲（邦尼·亨特 Bonnie Hunt 飾）和喬治（查爾斯·格羅丁 Charles Grodin 飾）帶著三個孩子瑞思（尼科洛·湯姆 Nicholle Tom 飾），泰德（Christopher Castile 飾）與艾米麗（Sarah Rose Karr 飾）住在城郊的大房子里，生活過得平靜而又幸福直到一天，一只可憐又可愛的浪狗出現(xiàn)在了紐頓家門口。在個孩子的苦苦懇求下，小狗成了紐頓家新的一員，取名貝多。時間流逝，長大的不僅僅是頓家的三個孩子，還有貝多芬在短短幾個月的時間里，原本小可愛的貝多芬已然成為了一龐然大物，在不斷制造麻煩的時，貝多芬也為紐頓一家?guī)?深深的快樂。貝多芬的存在吸了獸醫(yī)瓦尼克（迪恩·瓊斯 Dean Jones 飾）的注意，邪惡的醫(yī)生開始義均盡千方計，企圖將貝多芬據(jù)為己有?
A woman cons two old boyfriends into searching for her runaway son by convincing both that they are the boy's father.
暫無劇情簡?
由于檔期沖突，莉?泰勒(哥本哈根電影節(jié)最佳女主儀禮)將代替女演員安吉拉·貝蒂斯加盟千禧年電影公司《德州電鋸殺人狂》傳電影《人皮臉》，將在片中出演殺人狂人皮臉”的母親一角此外斯蒂芬·多爾夫將加盟該片。影片將追溯到殺人狂的青少時期，預(yù)計2017年上映?
查理（艾迪·墨菲 Eddie Murphy 飾）和菲爾（杰夫·格爾林 Jeff Garlin 飾）供職于一家高級廣告公，兩人每天勤勤懇懇的工，卻并沒有為自己掙得光的前景，反而因此而忽視家庭和孩子。一場意外讓理和菲爾雙雙丟掉了工作突如其來的大片閑暇時光兩人意識到了他們在帶孩方面的神奇天賦，兩人靈一現(xiàn)，決定開一家全職奶托兒所。查理和菲爾的托所開張了，隨著時間的推，他們的“生意”越來越火起來，也有了一批固定“客戶”，兩人甚至招募一位名叫馬文（史蒂夫·恩 Steve Zahn 飾）的雇員，當起了名副其實的“老板”。土螻在兩沾沾自喜之際，問題和麻接踵而至?
