镖行天下前传之四百里加急

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杰西·斯通被迫退休后，调查一位年轻朋友的可疑死亡案。与此同时，天堂镇的警察局正与一位傲慢的新局长交锋，此人是一位镇议员的女婿。汤姆·塞立克回归，饰演痛苦不堪的天堂镇前警察局长杰西·斯通，这是他迄今为止最扣人心弦的悬疑片。辛迪·范·阿尔丹曾是杰西的女儿，如今却已离世。尽管所有迹象都表明杰西曾因吸毒过量而自杀——一段充斥着毒瘾、与杀人黑帮的勾结以及参与卖淫的曲折历史——但杰西对他的朋友远不止于此。这一次，事关个人恩怨，杰西将不惜一切代价，为这位他曾经指导过的年轻女孩失去的纯真和随后的死亡复仇。

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大峡谷隐秘的狭缝峡谷的故事、系统地探索其排水系统的峡谷探险者以及隐藏在峡谷壁深处的秘密。

简介：来自雪国的年轻女孩江藤良香（松冈茉优 饰）独自在东京打拼，至今从未谈过恋爱的她日常喜欢灭绝动物，关于爱情她念念不忘的是学生时代的帅气男孩阿一（北村匠海 饰）。她将心中所爱所想说给身边的检票员、超市收银员、钓鱼大叔、公交乘客，看起来是那么开朗无忧。在一次公司聚会上，看起来十分不靠谱的男生阿二（渡边大知 饰）主动搭话，之后更向其表白。良香敷衍着这个神经兮兮的男生，心中一直放不下阿一。于是，她鼓起勇气，以其他同学的名义策划了同学聚会。经过一番努力，同学会如期召开，良香朝思暮想的阿一也终于到会，只不过随后的发展却事与愿违……　　本片根据绵矢莉莎的小说改编。

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龙大川是个有点儿一根筋的新兵。刚从新兵营出来，他本以为自己能去梦想中的海军陆战队，可到了训练营他才知道，他要当的，是一名永远不会拿枪的消防兵……跟大川相反，战友石鹏从小就立志要当消防兵，而且一直为此...

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　　莉莉-罗丝·德普([舞女])、罗兰·拉菲特([她])主演的新片[猛兽](Les Fauves，暂译)将于今秋开拍。该片由文森特·马希特执导，文森特将和玛丽·阿玛苏克里共同担任编剧。影片故事发生在法国多尔多涅河畔，一些年轻人消失，疯狂的谣言传开。居民和警察都没办法，少年劳拉打算彻底解开谜团。

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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郊外的一所大房子里，单身妈妈麦迪逊·海勒（艾丽·拉特 Ali Larter 饰）独自带着一双儿女雅各布（麦克斯·罗斯 Max Rose 饰）和海莉（科洛·佩林 Chloe Perrin 饰）过活。但是最近一段时间她饱受惊吓，因为在寂静的夜里，她和孩子们都曾目睹一个可怕的怪物在房间内出现。恐怖事件愈演愈烈，孩子们的身心受到极大创伤，海勒家的生活乱作一团。期间她也曾找过相关组织调查，但对方被吓得落荒而逃。在绝望的时刻，她只能选择相信男朋友尼古拉（阿俊·古普塔 Arjun Gupta 饰）。 尼古拉利用高精尖的仪器调查，不曾想居然将怪物的实体召唤出来。海勒一家的噩梦远远没有结束，她们不得已被困在这个熟悉而又恐怖的家中……

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这是一个关于复仇的故事，二十年前被毒打至死的疯妇似乎重回月牙古镇，誓要将当年迫害她的人赶尽杀绝。月牙镇 　　顿时陷入血雨腥风之中，人人自危。同时，一个疯疯癫癫的女孩出现在月牙镇，她是人是鬼，命案是否她所犯下，龙门 　　驿站的邮差马大路对此展开调查。大路的好友陈开和镇中首富莫善人的婢女杨阳相爱，他们期望有朝一日能种出一片代 　　表希望和幸福的太阳花。然而，陈开却另有隐情，压在他头上二十年的血海深仇使他无法释怀，最终，他将复仇之手伸 　　向莫善人……

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在演练过程中，搜救队收到一条关于在森林里迷路的孩子的信息。 在进行搜救行动时，救援人员遇到了一个不祥的实体：根据传统，这是很久以前死在这里的女巫不安的灵魂，当地人称之为跛足寡妇。 他们相信遇见寡妇会带来死亡。

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职业杀手Richard Kuklinski，一生杀了100多人，他经常将受害人的尸体冻成冰以掩盖死亡时间，江湖人称“冰人”，他有职业操守，不杀女人和小孩。另一方面，他是个顾家的好男人，他的家庭从不知道他的阴暗身份。生活中这个温柔绅士的好男人，深爱着他美丽的妻子和两个可爱的女儿。可秘密从来都不是个轻松的事情，直到真相大白的一天，保守秘密者注定要背着秘密艰难前行：凶残的杀手身份和对家人深沉浓烈的爱让这个“冰人”整日处在灵魂的挣扎中。