家庭主妇否定式

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迈克尔（扎克·布拉夫 Zach Braff饰）和他的老友们是所谓的难兄难弟。尽管他表面看来生活幸福，三十而立的年龄却给他带来某种不安。女朋友珍娜（杰茜达·芭瑞特 Jacinda Barrett饰）是个理想的伴侣，聪明温柔，光彩照人，但迈克尔对婚姻和责任还没有心理准备。因此，当珍娜告诉他有了身孕的消息时，迈克尔有点不知所措。 他的老友也都面临着各种感情和婚姻问题，他们试图逃避，而迈克尔也迎来了新鲜感情的诱惑。金（蕾切尔·比尔森 Rachel Bilson饰）在他的视线中出现，带着如此青春、艳丽、摄人魂魄的气息，让迈克尔情迷意乱。金在迈克尔黯淡的生活里仿似一石激起千层浪。珍娜和迈克尔本可开花结果的感情，就这样陷入了汹涌的漩涡。

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我们都有过去，有一系列事件引领我们走上注定要走的路。大多数人不知道这些情况，引发了好奇心。跟随戴夫·拉德福德 (Dave Radford) 的不懈人生旅程，发现无畏斗士的真正意义，无论是在拳击场内还是拳击场外。

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人气纪录片《奇食记》的升级续作，在广袤的中华大地上，有一些神奇、特别、怪异甚至另类的“美食”，它们经过了岁月的沉淀，仍然保留在中华民族的食谱之中，也融入了不同地区和不同民族的血脉之中。

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随着赫尔曼·J·曼凯维奇争分夺秒地完成奥逊·威尔斯的《公民凯恩》剧本，人们将通过这位尖刻的社会评论家兼嗜酒编剧的视角，重新审视 20 世纪 30 年代的好莱坞。

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被乐队和家人扫地出门后，玩世不恭的吉他手投靠一名会计及其儿子和父亲。他们能否共谱甜蜜乐章？   

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一名自由职业的电脑黑客入侵了秘密政府承包商并下载了一个程序。他必须在自己的好奇心和朋友的生命之间做出选择。

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1999年的冬天，即开式福利彩票喧闹的发行现场不远处，有人在拆除了平房后的地表挖出金属来卖。几个十几岁的艳粉街年青人，在即将动迁的居民区里无聊漫顾，他们有时聚集在小卖部里谈论感兴趣的女孩或者其他话题，有时为女孩在寒冬中瑟瑟发抖的等待。这个冬天里，大部分艳粉街的家庭尚没有进入搬迁的实质阶段，年青人们仍然靠打架、聊天、游戏消磨度日，偶而也为工作的前途焦虑。随着越来越多的昔日邻居离开旧居，艳粉街失去了往日的格局，总有一些家庭为了切身的利益选择留下，2000年的冬天，一些年青人仍然重复着他们的生活，而遭遇断电断水的人们，开始为解决基本的生活需求而苦恼……

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久留美（新木优子 饰）出生在仙台，成年之后，她决定离开老家，和朋友一起前往东京，在那里开一家属于自己的咖啡店，然而，种种的意外让久留美的这个计划泡汤了，与此同时，久留美收到了外公阿健（大杉涟 饰）在家乡昏倒被送进了医院的消息，于是，她暂时放下了手中的事情和内心里的烦恼，返回了家乡。阿健也经营着自己的小店，不过大地震的发生令小店倒闭了。阿健入院后，他希望久留美能够代替自己，重新让小店开张，可是久留美是一个非常容易放弃的女孩，之前创业失败的经历也让她对开店充满了恐惧，在这种情况下，久留美可以完成阿健的委托吗？

简介：《窈窕淑女》是一部古天农执导话剧，钟景辉等人参加演出。

简介：Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

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